Golden Hands arranger tells story through music

Golden Hands arranger and pannist Vanessa Headley-Brewster has vivid memories of her late mother, Franka Hills-Headley, coming home from classes at the UWI when she, Headley-Brewster was just four years old. Her mother was dedicated to her craft and would practice on an old, rusty pan.

While she doesn’t remember every detail, one of the songs her mother frequently played was Magic Flute, which Headley-Brewster learnt by ear. It was then her mother recognised her daughter's natural talent for music: specifically, the steel pan.

“I was born into a musical family: my mom and dad were musicians. It’s natural to me, I can’t imagine life without it. That may sound like an exaggeration, but music is literally my life,” she told WMN.

Headley-Brewster holds a bachelor’s degree in music from the UWI, where she graduated with honours, as well as a master’s in music psychology from the University of Sheffield in London.

She credits her mother for instilling in her a deep love for the pan. Hills-Headley, who died on August 1, 2024, was the driving force behind Golden Hands, the steel orchestra she founded in 1993. The aim of the registered non-profit organisation was to come up with a teaching model that would solidify the steelpan as a musical instrument, and to help develop the creativity of children interested in playing the instrument.

“My mother was the foundation of my journey and passion for the pan. Her dedication to the instrument, commitment to nurturing its artistry, and focus on music education were central to who I am today.”

Golden Hands, which Headley-Brewster describes as a space that empowers young people through music, has become a symbol of artistic excellence in the community.

“On our 30th anniversary, we adopted the descriptor ‘Steelpan Conservatory,'" reflecting the organisation’s growth into a conservatory that emphasises education, mentorship, and performance within a disciplined environment.

Headley-Brewster grew up in San Fernando and says the rich cultural heritage and the resilient spirit of the south’s people have shaped the identity of Golden Hands.

“We take great pride in representing San Fernando on every stage we perform.”

As an arranger, she sees her role as a storyteller of music.

“An arranger adapts a piece of music for the steel orchestra, ensuring each section of the band contributes to a cohesive and dynamic sound,” she explained.

“We create harmonies, rhythmic patterns, and transitions that highlight the beauty and versatility of the pan.”

She stressed that being an arranger requires both a deep understanding of music and the ability to connect with the players, bringing the music to life through interpretation.

Her journey into arranging began with Golden Hands. Encouraged to experiment with music from a young age, Headley-Brewster was inspired by the power of well-arranged music to move both audiences and performers.

“It became a way for me to tell stories through music.”

Beyond Carnival, she is deeply involved in mentorship and education through Golden Hands. The organisation launched an internship programme for senior members, focusing on developing musicianship, leadership, and an appreciation for the history of the pan.

“I’m passionate about creating opportunities for women in music and expanding steelpan education globally. I also enjoy collaborating on projects that blend genres and art forms to tell unique stories. I’ll be working on an exciting international project in the coming year that will definitely shake things up!”

Regarding the challenges women face in music, Headley-Brewster notes the pan world has historically been male-dominated, but she has seen significant progress in recent years.

“There’s a growing recognition of the invaluable contributions women make to the art form. It is important to continue creating supportive spaces where women can thrive. I hope my journey inspires others to confidently pursue their passions.”

One standout moment in her career, she said, was during her time at the university when she introduced the pan as a way to bridge the diverse musical backgrounds of her classmates.

“I explained the history and versatility of the instrument, then performed a few pieces. The room came alive with curiosity and enthusiasm. It was a proud moment to see how the pan could transcend cultural barriers and spark genuine connections. It reinforced my belief in music as a universal language.”

Her advice to young people, especially women, is to be fearless and resilient in pursuing a creative path.

“Surround yourself with mentors and collaborators who uplift and challenge you. For women especially, assert your place in the field and never let doubt hold you back.”

Headley-Brewster describes the lack of pan education in schools as a “travesty.” She believes it should be mandatory.

“Not everyone will love the pan or become a world-renowned band musician, but it’s our national instrument: even before it was officially declared so, we need to create an appreciation for our culture, especially in children’s formative years.”

Looking ahead, Headley-Brewster’s goals include expanding the reach of Golden Hands, locally and internationally, while continuing to innovate in the pan world.

“I want to grow as a musician, arranger and leader, contributing to the global appreciation and evolution of the pan.”

She also dreams of collaborating with artists and groups that push boundaries and celebrate cultural diversity.

“Locally, there are so many talented artists whose work I admire, and I’m always open to exploring creative partnerships that inspire me.”