Kaine Hamilton Mills - Born into Music and Living His Musical Journey Everyday!

Aug 6

Aug 6 Kaine Hamilton Mills - Born into Music and Living His Musical Journey Everyday!

Europe, Caribbean, Trinidad and Tobago, UK

Panpodium caught up with Kaine recently and speaking with this humble but extremely talented young musician is always truly inspirational. Kaine’s thirst for perfection is what drives him to achieve the best results that he can. He has just finished college and is now able to focus much more on his music. Although his college experience was not what it was meant to be owing to Covid 19 restrictions his time there opened his eyes to a lot of things to do with the music industry and has helped him to fully plan out all of his releases for the rest of the year. Up until recently, he has been working on his artistry, finding his sound as well as ways adapting it to different genres. Obviously steelpan is something that he wants to try and incorporate into his music even if it means that he does the steelpan parts and write for someone else to sing and then once he has a repertoire of songs that can fully or even partially be played by a band he wants to take Metronomes Steel Orchestra on tour.

Kaine is so driven that he has also approached members of the UK Steelpan Tuners Guild to start his training to become a tuner once he has completed his current commitments.

PP: When were you first introduced to music?

KHM: I'm not sure if there was a specific point that I was first introduced to music, it's more a case where I was just born into it as both of my parents were just musical people. For example a story my mum always likes to tell of how she was playing drums on a float at carnival when she was pregnant with me.

PP: When were you first introduced to the steelpan instrument?

KHM: My earliest memory of pan would be when I was about 3 or 4 coming down to Metronomes panyard during the summer.

PP: What made you want to start playing pans?

KHM: When I first started playing, it wasn't something that I necessarily wanted to do, it was just kind of a thing that everyone around me did so I just fell in. It wasn't until I was 8, when I first went to Trinidad with Forest Gate Steel Band and saw Tokyo Steel Orchestra, that's when I actually started to show genuine interest in playing after seeing the tenor bass and hearing songs I could actually recognise on pan.

PP: When did you start playing pan?

KHM: I started playing about 6 or 7 years old

PP: First band you played for?

KHM: The first band I played for was the Forest Gate Steel Band, which at the time was led by my mum and auntie.

PP: What steel bands have you played for?

KHM: So far I have played for Forest Gate, Metronomes and Ebony

PP: When was your first panorama? Junior and National.

KHM: I played my first Panorama in 2013 when I was 10 years old. I wanted to play the year before but by the time I decided that I wanted to play and started learning the tune, there was only two weeks left until panorama. Back then, I didn't realize that and thought it was because I just was ’t good enough so from that September, I wanted to play in the stageside so by the time panorama came round again I would be ready and wouldn't get dropped. As for Junior panorama I played my first one in 2016.

PP: If you could play for any band in the world, what band would you want to play with?

KHM: I would probably have to go with either Renegades or Trinidad All stars

PP: What steelband competitions have you taken part in?

KHM: So far I've only done panoramas. I did want to do a Pan Clash last year but Covid 19 had other plans.

PP: What was the most challenging thing you have done to do with pans?

KHM: I think that the most challenging thing I've had to do with pan is keeping up with my exercises. Whether it's doing mummy daddies or running scales over and over and over again.

PP: What’s been the most inspirational musical moment in your life?

KHM: I think the most inspirational musical moment in my life was my first Panorama. Especially the moments just before and after we played, as it was the first time I had done anything like that in front of so many people. Seeing them on the sides and the judges just sitting in front made me think raaa, this is actually happening. Then we finished, I was like raaa we are done just like that after so many weeks of practicing. I still remember going back to school after that, I felt like a Don, stepping in thinking to myself, these guys don't even know what I did last summer. From then on, I just liked performing in general whether it was with music or acting

PP: As a member of Metronomes Steel Orchestra can you let us know what is the importance of your the role in the steelband?

KHM: Until recently I was just a member of the stageside but now I've started putting down arrangements for the beginners’ class. I wanted to put down music for a while and even did an arrangement with Dear Promoter for last year's Junior Panorama but again Covid 19 came and put that on hold.

PP: What are the important qualities/skills that an individual must possess to perform your role?

KHM: In terms of arranging you would need to have a good understanding of each pan’s role individually, as well as the part that they play in the band as a whole, this paired with a good understanding of music, in general would allow you dissect any song for a band to play, for example frontline would play the melody, middles hold the songs chords and the bass has the bassline. Once you have this basic understanding, you can begin to experiment with different parts and sections to input your own styles and influences. As for teaching beginners, you would need to have a good level of patience and a sharp attention to detail to help them with technique as well as to assess what their strengths and weaknesses are, so that you can effectively assist them to develop.

PP: What is your favourite pan to play?

KHM: I would say the bass; as for me it feels like more of a dance routine. Since you have to think about the way that you move around your small space, as well as your notes. Then once you have it, then you can just flow with the music, feeling each movement without even thinking about it.

PP: Who are your inspirations both to do with pans and musically?

KHM: With pan I don't really have any specific arranger that I hold as an inspiration as I like to take in every arrangement as inspiration even if it's not particularly the greatest because then I can think about how I could do it differently or add my style. So as a whole, I'm inspired by anything that I'm exposed too, things like stageside and panorama songs (from any band), as well as arrangements from our band captain Vivian. When I think about it, it's the same with my inspirations as a music artist because I don't just listen to any one type of music, if I hear a song and I like it then it's going into my playlist. I feel like this is reflected in my aspirations as an artist. As I want to try and experiment with many different genres, so as to not get boxed into one limiting my potential, also it's because I like to confuse people, like imagine someone singing on a track then they hear you rapping and then BOOM out of nowhere they playing pan, it's just not something that you would expect.

PP: What are your hopes for pan in the UK?

KHM: I hope for pan to be more commercialised, eventually getting to a level that's similar to other more traditional instruments like the piano or guitar instead of just being something that people remember playing in school.

PP: What is your vision for the future in the UK and Globally?

KHM: having International Panoramas, with rounds like in Trinidad, that's backed by governments similar to sporting events

PP: What are your musical aspirations for the future?

KHM: I want to develop myself musically as an artist known for mixing cultures and sounds, for example I'm definitely going to make a rap album that features pan, bagpipes and a sitar. I don't know how yet, but it's going to happen. Eventually I also want to start a record label with my music collective.

PP: What do you think needs to happen in the UK for the steelpan instrument and its culture to be more widely recognised on all musical platforms.

KHM: I feel like all it would take is a somewhat mainstream artist to incorporate it into their brand, instead of just one song or two because then it’ll just turn into a case of people asking if you can play that one song on pan. To name a few examples of this: Crank that by Soulja Boy, P.I.M.P by 50 cent and of course ZEZE by Kodak Black