By Michael Mondezie

Copyright trinidadexpress

WHEN the curtains opened at the One World One Family Festival in Sathya Sai Grama, India last Saturday, Michael Hospedales felt time collapse.

For a split second the man known as Michael the Pannist was a boy again, standing on two soft drink crates in a Santa Cruz panyard, stretching to reach the tenor pan his grandmother once tried to keep him away from.

“That moment was simply overwhelming and humbling. As I stood on that stage and those curtains opened, I couldn’t believe that I was really on such a grand world stage representing Trinidad and Tobago—and I couldn’t be more proud,” Hospedales told the Express yesterday. “However, I felt at peace knowing I worked so hard and this opportunity was well deserved.”

The New York–based pannist led a five-piece ensemble that included Wilfred Kieal Jr on tenor pan, Mark Garceran on double seconds, Marc Brooks on drums, and award-winning producer and bassist Shawn “Mastamind” Noel.

Together they delivered a set that wove through Freetown Collective’s “Take Me Home”, a David Rudder medley that included the anthem “Trini 2 De Bone”, Kes Dieffenthaller’s “Hello”, and Shurwayne Winchester’s “Don’t Stop” which was produced by Noel. The showcase brought thousands at the 100-day international celebration of humanity, heritage, and harmony-—which started on August 16 and ends on November 23—to their feet.

From Santa Cruz

to the world

Hospedales’ steelpan story began in the foothills of the Northern Range, growing up in Santa Cruz. His father, Fabian Hospedales, was the first to urge him toward the national instrument.

“My father urged me to play from day one and has been my biggest supporter. So (last Saturday) I was taken back to being the little boy with the big ears that needed to stand on two soft drink crates to simply reach the steelpan. Never in my wildest dreams did I think that that little boy would be leading his own assembled band in India,” he said, beaming.

The full emotional weight of that journey, from boyhood struggle to the global stage, fueled the pride he carried when he struck the first note in India.

“It means the absolute world to me to showcase the instrument on this stage,” he said. “Steelpan doesn’t always get the respect it deserves, so to see and feel the love and appreciation and acceptance of our instrument and our music truly lets you know that they mean it when they say: One World, One Family.”

A band of brothers

Sharing the stage with a gifted group to T&T musicians made the India performance even more special. What made the group click, he said, was how egos disappeared in the service of the music.

“What made this group special was selflessness. From me being a world-travelling, renowned pannist, to Shawn (Mastamind) being an award-winning producer/musician, to Marc Brooks, Wilfred Kieal Jr and Mark Garceran being renowned Panorama arrangers, players and champions, we came together and none of the above mattered.

“There was an unbreakable bond formed between the group from day one. We all as a group understood that the moment was bigger than us individually and we truly banded together and delivered a powerful representation of our culture and music.”

His sister and manager, Sherrise Hospedales, set the tone before a single note was played, delivering a ten-minute introduction of T&T to the audience. Hospedales says her moment on stage as meaningful as his own.

“It was extremely important. As a manager my sister can selflessly fade into the background sometimes,” he smiled. “So, to see her step into the light and deliver such a poised yet powerful introduction of Trinidad and Tobago to the world was a very proud moment for me.”

Pan belongs

The One World One Family Festival’s theme—love, service, and unity in diversity—reshaped how he sees pan’s role in global culture.

“It showed me that steelpan has a place amongst every other instrument and it’s not a novelty item,” he nodded. “Steelpan has purpose and a beautiful story to tell and now is our opportunity to tell it. To see people who have never seen or heard the instrument move and sing in unison showed that steelpan did in fact belong!”

That belief fuels his vision for the instrument’s future.

“I think steelpan can be a headliner on the world stage. I can see us stepping out of the stereotype of what steelpan can do and truly pushing the limits,” he added. “I can see steelpan leading symphonies, and festivals and even on stages like the Grammys. The sky is truly the limit.”

Hospedales and his ensemble are already preparing to return to India in November for an encore performance at the festival’s climax. His hope is to double down on what made their first showcase resonate.

“I hope to deliver even more of what made the first performance so special. You could feel the love, passion, strength, resilience in every note and I intend to deliver an even bigger better performance in November,” Hospedales concluded.