The Historical Convergence of Nostalgia and Pan Nectar Steelbands for Notting Hill Carnival 2025!
The origins of the first joint practice between Nostalgia Steelband and Pan Nectar for Notting Hill Carnival 2025 can be traced back to the deep-rooted musical partnership between two pioneering figures in the history of Caribbean music in Britain: the eloquent jazz pianist, Russell Henderson and the virtuoso pannist, Sterling Betancourt. Their paths converged in London during the early 1950s, marking the beginning of a cultural legacy that would profoundly shape the trajectory of steelpan music and the evolution of the Notting Hill Carnival.
Russell Henderson arrived in England in 1950, already an accomplished musician in Trinidad with his own band, quickly establishing himself in London’s thriving jazz circuit. Sterling Betancourt followed in 1951 as a member of the legendary Trinidad All-Steel Percussion Orchestra (TASPO), which had been invited to perform at the Festival of Britain. While TASPO members returned to Trinidad after completing their duties, Sterling chose to remain in Britain, becoming a central figure in the nascent steelpan community.
The meeting of Henderson and Betancourt was a catalyst for the birth of the UK’s first steelband, the ‘Russell Henderson Steelband.’ Their shared vision culminated in a historic moment in 1966 when the band, in the traditional “Pan-Around-Neck” style, took to the streets of Notting Hill during a spontaneous street party organised by community activist Rhaune Laslett. This performance laid the foundation for what would evolve into today’s world-renowned Notting Hill Carnival (NHC).
To honour this legacy, Nostalgia Steelband has preserved the tradition of performing as a Pan-Around-Neck band for over six decades. However, during the 1990s, a divergence of vision led to a split within the band, resulting in the formation of ‘Pan Nectar’ under the continued leadership of Russell Henderson. The name “Nectar” pays homage to the band’s Hummingbird logo, symbolising the deposition of nectar and sweet musical notes on the pan."
Russell Hendersons’ Funeral Memorial on 29th September 2015
Meanwhile, Sterling Betancourt recruited Lionel McCalman and Haroun Shah to rebuild Nostalgia, which was eventually registered in Companies House as the ‘Nostalgia Steelband and Carnival Club’ on 29th September 1999.
For many years, the two bands operated separately, rarely crossing paths musically. A symbolic moment of reconciliation came on 19thSeptember 2015. Members of Nostalgia and Pan Nectar united at Rus’s funeral cortege to honour their mentor, performing Henderson’s own arrangement of“Don’t Stop the Carnival”in the funeral procession that left from his home at 31 Linden Avenue, Kensal Rise, to the West London Crematorium on Harrow Road, where many Caribbean cultural icons are laid to rest.
On 6th April 2022, preliminary discussions commenced between the two bands exploring the possibility of a collaborative performance at NHC. However, as both ensembles were still navigating the challenges of post-pandemic recovery alongside other competing commitments, the proposed plans for joint participation were subsequently deferred. By December 2024, Nostalgia entered discussions with the Southbank Centre to curate a programme commemorating the 75th anniversary of TASPO - scheduled for July 2026. In parallel, the band was preparing for its 11th Steelpan/Carnival Arts Conference in Trinidad, 6 - 8th March 2025 and announced that the 12th conference would be hosted in London to harmonise with the TASPO celebrations. Recognising the symbolic significance of these events, members of Nostalgia and Pan Nectar exchanged informal communications expressing a shared desire to reunite musically in honour of their shared heritage.
This sentiment came to fruition on Sunday 13th July, when members of Nostalgia joined Pan Nectar for their first joint practice at the Pan Nectar’s panyard, St. Clements Church, W11 4EQ - a short walk from Maxilla, Nostalgia’s own panyard. This rehearsal marked the rekindling of a historic musical partnership and symbolised the enduring legacy of TASPO’s pioneering spirit within Britain’s steelpan tradition.
Unlike Nostalgia, whose weekday rehearsals have traditionally taken place in the modest, somewhat characterless setting of a local pub, Pan Nectar conducts its practice sessions on Sunday evenings (6:30 pm - 9:30 pm) in what is arguably one of the most charming and atmospheric panyards - the enchanting grounds of St. Clement’s Church.
For many of Nostalgia’s members, unaccustomed to weekend practices, this environment initially felt both daunting and awe-inspiring. Thus, on Sunday 13th July, only three Nostalgia players were there for the first joint session, making their way through a fairy-tale garden to the side entrance to reach the church. From the outside, the late-Victorian Gothic Revival architecture of St. Clement’s immediately commands attention; its tall, graceful spire rising proudly above the surrounding streets, framed by intricate stonework and elegantly arched windows. Inside, the church reveals a sanctuary of breathtaking beauty: vaulted ceilings, slender columns, and a soft diffusion of natural light through stained-glass panels, creating an atmosphere both serene and majestic.
Steelpan practice at St. Clement’s Church revealing the breathtaking beauty: vaulted ceilings, wooden floorboards, slender columns, and a soft diffusion of natural light through stained-glass panels.
Yet St. Clement’s is more than an architectural masterpiece - it is a space alive with sound. Its acoustics lend a unique resonance to the steelpan, amplifying its tones with clarity and warmth. The setting has fostered a close bond between the band and the community.
The first session opened with Richard ‘Rickey’ Gilmore’s intricate arrangement of “Retro” by Voice, the 2025 Calypso Monarch, setting a vibrant tone for carnival. The first weekday practice was initiated on Thursday 31st July and was made especially memorable by the presence of Cyril Khamai, a 94-year-old steelpan veteran, who played percussion - a living testament to the instrument’s enduring legacy.
Throughout August, rehearsals intensified, with practices held twice weekly and culminating in daily sessions during the final week leading up to the NHC on 24 - 25th August. The repertoire expanded to include Tamla Batra’s exhilarating arrangement of the Mighty Shadow’s calypso masterpiece “Dingolay” and Daniel Louis’s innovative reinterpretation of Beyoncé’s “Love on Top”, transformed into a dynamic calypso tempo.
Visitors called the arrangements powerful and transcendent, drawing them to the edges of the practice space, dancing quietly, their faces illuminated by the echoes of music in the church’s tranquil environment. With strong attendance from both Nostalgia and Pan Nectar, the combined force of the players prompted a collective decision for the NHC 2025, the bands would perform together on two floats instead of one, marking a moment of growth and unity that honoured the past while embracing the vibrancy of the present.
Pan Nectar’s legacy of community spirit stands as living proof of the steelpan’s enduring power to bring people together.
On Sunday 24th August, an unprecedented moment unfolded as Nostalgia Steelband and Pan Nectar Steelband united for the first time, marking a significant milestone in the cultural history of NHC. The day began with a spirited performance at the church’s Carnival Service at 9:30 am that set a tone of reverence and celebration. By 10:30 am, the NHC parade commenced with two floats - a striking blue one carrying 9 players, the drummer, bass guitarist, generators, and a powerful sound system that enabled seamless synchronisation with the second yellow float, where 12 additional players performed in unison.
The blue float carried the united insignia of both bands, showcasing pride and togetherness at NHC
Despite a brief delay along Kensal Road, the journey progressed smoothly, a testament to the collective effort of numerous volunteers, including the unwavering support of resident priests Fr. Gareth Wardell and Fr. Nick Morris who helped pushed the float along the route. The atmosphere was electric, with crowds visibly showing their emotion. The energy reached its zenith at Westbourne Park, where, as the band approached the judging zone, they performed the infectious classic “Dingolay.” As experienced NHC performers, Pan Nectar’s floats were strategically aligned side by side, amplifying both the sonic impactand visual spectacle. The effect was instantaneous - spectators applauded, the judges rose to their feet and danced and waved in rhythm, and the entire judging point was transformed into a living, breathing celebration of Caribbean musical artistry. Band members knew they had performed well and proceeded to Trini Corner, where the band delivered a seven-minute set that was met with unrestrained joy and rapturous approval and waving of Trini flags from these veterans of NHC. By 6:30 pm, the procession reached the panyard and was greeted warmly by local residents, including an elderly supporter who proudly shared that she had welcomed the band’s return every year for over two decades. Her words underscored the deep sense of community pride in having Pan Nectar and Nostalgia recognised as the neighbourhood’s beloved cultural ambassadors.
The following day, Monday’s Carnival, brought new challenges and opportunities. With experience from the previous day and floats already in place, expectations were high, yet a few players were unavailable to perform. A decisive adaptation was made: the band would proceed with only the blue float, while six Nostalgia players performed traditionally, carrying their instruments around their necks, at the front of the float. This innovative formation created a powerful visual and sonic display, evoking the early traditions of steelpan performance while merging seamlessly with players on the float.
Monday’s route is historically denser with spectators, but the band again navigated the route smoothly. But being a hotter sunny day and less players, two extended pauses of about 30 minutes were made along the route. By 5:20 pm, the band triumphantly turned off the main carnival road on Ladbroke Groove into Oxford Road, where the band stopped. Members were given the microphone to voice their sentiments and then had a final performance before returning to the panyard, brimming with energy and carnival fever. As evening fell, the celebration continued - some members relaxed in the church gardens, others danced to spontaneous bursts of music, while dedicated volunteers dismantled floats, packed instruments, and cleared equipment. Their tireless work, often stretching into dusk, reflected the deep commitment, resilience, and unity that defined this historic collaboration.
The culmination of two days of extraordinary revelry, creativity, and camaraderie left an indelible mark on all involved. Emotions flowed freely as band members shared reflections and memories in their dedicated ‘WhatsApp Group,’ expressing pride, gratitude, and solidarity. In many ways, the entire event is perhaps best captured by the words of arranger Daniel Louis, whose vision and artistry underscored the triumph of this unprecedented union: “I would like to say I loved every minute of time I had with everyone. This was also very special because we had Nostalgia with us! That was a historic moment in time which; if not repeated and remembered will be a once in a lifetime event. I am sure we will bring it together on future occasions.
After the music fades, the memories remain. On Monday 25th August, band members gathered in the church gardens to reflect on an unforgettable carnival and even starts to imagine the next one.
On another note we have to thank Robby, Carlos, Rick/Richard (and Slim Clarke) as the MAIN people who built and broke down the TWO floats we used PLEASE ALSO REMEMBER that we used the Yellow float because we wanted everyone to be comfortable, (people said it would be nice to have pans hanging) so the Extra work it took to build both floats was extra hard labour but done with love ❤️ We did not use the yellow one the next day - So please give those people and the rest of the organization a BIG thank you, because without them it would not have happened.
I thank you to all for the comments that I got for doing the ‘Love On Top’ song by Beyoncé. It fit right and lots of people in the audience, young and old knew the song and were able to sing along with it, so I thank the Most High for giving me the inspiration to choose that song and it worked a treat Lots of love to Richard and Tamla for the two excellent songs.”
Official Results - Notting Hill Carnival (Sunday, 24th August 2025)
Released on Tuesday, 26th August 2025
1st - Pan Nectar / Nostalgia (456 points)
2nd - Pantonic Steel Orchestra (445 points)
3rd - Mangrove Steelband (437 points)
A historic victory - the first time a single pan steelband has won Best Playing on the Road at Notting Hill Carnival.
The huge task of dismantling the float begins - beautifully captured in the words of player and arranger Daniel Louis (see text).
All photos were taken from the WhatsApp Group.
By:
Haroun N. Shah1, Laila M.N. Shah1, Robert Cardenas2 and Robert Kalcov2
1Nostalgia Steelband, Maxilla Social Club, 2a Maxilla Walk, London, W10 6SW
2Pan Nectar Steelband, St Clement Church, 95 Sirdar Road, W11 4EQ
