Maxine Brooks

Maxine Brooks, born in Birmingham in 1964 to Jamaican parents, found her life's purpose in a Pentecostal church, leading to a lifelong commitment to Jesus Christ. Her musical journey began early,

“tinkering on the piano” by ear and developing a gift for hearing harmonies and voices, which has led her to write over 100 songs for God’s glory. She currently serves as a pastor of the House of the Lord UK and directs the Birmingham Community Gospel Choir.

Maxine’s early solo career saw her collaborate with notable Birmingham musicians like the late Paul Reid and Colin Peters. A pioneer in inter-denominational collaboration, she organized “Sisters in Christ” at the Town Hall, a significant feat given the strict denominational segregation of the era. She emphasizes that “music is a breaker” of barriers, fostering unity and transcending traditional church boundaries. She celebrates the growing unity among diverse singers and churches, driven by “the love of the Lord and music”.

Key Decisions and Faith A pivotal moment in her youth was declining an offer to be the singer for Musical Youth (“Pass the Dutchie”), stating she only “sings for Jesus”. This decision, made despite their subsequent mainstream success, underscored her unwavering faith and commitment to her purpose, proving that “being true to yourself is key”.

Leadership and Community Her choir, the Birmingham Community Gospel Choir, is now award-winning, a testament to her dedication. As a pastor, she attributes her leadership to God’s strength. Beresford Dawkins’ invitation to be a “Well singer” at his renowned platform, “The Well,” provided a “beautiful opportunity” to collaborate with other talented artists, reinforcing the high musical standard in the community.
Maxine’s commitment extends beyond church walls with her annual “Gospel Goes Charity” event at the Town Hall, raising money for various causes. She believes that when “the presence of the Lord hits that place,” it transcends a mere concert, becoming an experience of God that brings “church in that place,” leading to emotional and spiritual encounters for attendees.

Views on Worship and Industry She contrasts early church music’s reliance on tambourines and piano-led hymns with today’s focus on selecting “best singers” for worship teams. She advocates for “letting the worshiper worship,” regardless of vocal perfection, believing true worship originates from the heart. Maxine also touches on historical gender biases in musicianship, now regretting her past view that girls should stick to “feminine” instruments and now encourages her granddaughters to play any instrument.

She addresses denominational “wars and foolishness” over theological differences, advocating for Christian unity based on belief in Jesus as Lord. Reflecting on unfulfilled musical potential, Maxine recounts an early RCA Records offer for her song but not her singing. Lacking guidance, she declined, only later realizing the industry allowed for separate roles. Now, with newfound confidence and financial independence, she is investing in herself, prioritizing her testimony over commercial success. She highlights influential gospel singers like Hazel Watson, Jennifer Phillips, and Divine.