We sat down for a quick chat with Holli Pandi, who is a harpist in the National Open Youth Orchestra and will perform three concerts as part of its #ThisIsOurOrchestra tour: at the Barbican Centre, London on 30 June 2026, Hoddinott Hall, Cardiff on 30 July 2026, and at the BBC Proms at Bristol Beacon on 9 August 2026. Tickets and info here: https://noyo.org.uk/bbcproms/
Having trained in London before continuing your studies in Birmingham, how have those different musical environments shaped the way you approach performance and collaboration today?
When I was studying in London, things always felt more formal, and I felt more imposter syndrome. This may have been because I was younger.
In Birmingham, I have felt more space to try new things musically. Although working in both cities has allowed me to play with amazing musicians, who I feel inspired by.
NOYO places inclusion at the centre of its work rather than treating it as an afterthought — how has being part of the orchestra changed your understanding of what classical music spaces can look like?
It has made me have a clearer vision of the industry with myself in it.
You’ve spoken publicly about the importance of accessibility in music-making — what conversations do you still feel the industry needs to have around disabled musicians and professional pathways?
I still think that there is more to be done. Not just so people can take part, but can also flourish to the same standards as non disabled people.
The classical music world is still very much stuck in its own ways, through certain things in exams/ recitals/ concerts due to tradition. This can mean that these can appear to look accessible and adaptable from a distance, but once you have to actually take part, you are expected not to have a disability and function as just a ‘musician’. Personally, as I have autism, I do not have a physical reason to explain why I am not able to do something, or learn something quickly.
In terms of professional pathways, music can be very unstructured, which is daunting to everyone. However, with most musicians being freelancers means they make their own schedule. Personally, I am excited to become a working professional freelancer, as I will be able to do multiple types of music work. However, knowing that I may have large stretches of time without work is daunting.
You mentioned that working directly with composers on pieces like Barriers is “insanely rare” in other orchestras — what does that level of collaboration give performers creatively?
It allows us to make sure the parts play to the strengths of individual performers instead of generic instrument players. This means, as a musician, I get the experience of communicating with composers and learning what works best with my playing and the harp. When performing, I feel more pride in knowing that my feedback has been used to improve the music we’re playing.
This programme reimagines the idea of a “young person’s guide” to the orchestra for today’s audiences — what do you think young musicians are bringing to orchestral music that feels especially exciting right now?
I think right now, with Gen Z musicians, we bring a more unserious energy, which can be fun while working together. I also think that now many musicians are growing up with more technology, as we have spent the time learning through the pandemic, so we have gone through the instability and seen the music world struggle.
I am also excited to be part of the ‘young person’s guide’, as the piece has many different moods and styles, which are all quite modern. I am hoping that the audience will enjoy hearing them and relating to them. During the piece, we have quite a few electronic instruments showcased, so I am also excited for the audience to hear them and understand that the instruments can be part of orchestras.
NOYO’s performances encourage audiences to engage with the music in ways that work for them — how does performing in a more relaxed and inclusive environment affect the atmosphere on stage for you as a musician?
I feel more excited to play for audiences, knowing they can interact with it. As I am sitting on the stage, I do think about the audience and how their experience might be going. Knowing that audiences can engage with the pieces before and during means I will work harder to entertain the audience.