Until May last year, trumpeter Robyn Steward had never been in a nightclub space, save for playing trumpet with Lancaster duo the Lovely Eggs at London’s Heaven, and a few nights in a university hall that doubled as a lunch room. Steward is autistic and has multiple disabilities including cerebral palsy. “Sometimes strobes can trigger migraines for me, or feel a bit overwhelming,” she says. “I feel like my body’s a bit lost.”
When she wanted to see a gig at Fabric nightclub in London, she asked a friend to go with her as a carer. “I was amazed at how accessible it was,” she says. Subtle touches integrate multiple access needs into the space. “The mezzanine level meant that I didn’t have the strobes in my face. There was a rail that I could hold on to, and there was seating opposite the balcony so I could sit and watch the gig.” She also noticed Fabric’s recently upgraded sensory dancefloor, which deliberately transforms sound into tactile vibrations to better cater for the hearing impaired. “I could see that the lights were strobing and everything, but I felt safe,” Steward says.
Inspired, she contacted Fabric to see if they might host her long-running, space-themed experimental music night Robyn’s Rocket, which since 2017 has been booking noise bands, DJs and improv groups in London venues from Deptford to Dalston. While it champions disabled and autistic performers and audiences, Robyn’s Rocket is principally about integration. “People with and without learning disabilities – and autistic and non-autistic people – should spend time together, where there isn’t any kind of power dynamic,” she says. Her aim is to create a space “where people are all just having a really nice time together”.
We meet in a music studio in Deptford, south London, the day before the Rocket’s first night at Fabric. Steward, 39, is relentlessly upbeat; straight after the interview, she heads to the shops where a friend helps her figure out an unspecific drinks rider request. It’s in keeping with the Rocket spirit of clarifying what might usually be assumed or implied. Online, she supplies detailed visual storyboards of how an evening will progress. All artists fill out detailed tech and access riders. Every box and cable is given a name, shape or colour. All Rocket gigs are livestreamed and timings are strictly adhered to so those streaming the gig don’t get lost. “The schedule, once it’s agreed, it’s pretty non-negotiable,” Steward says.
On arrival, everyone is presented with a silver rocket-shaped badge, angled up, across or down as a visual barometer of how much communication they’re comfortable with. Fabric is adorned with more than 100 posters: signposts always feature words and shapes and are populated with cartoon characters, human and alien. Silver foil covers the stage, and live projections from visual artist Rucksack Cinema are suitably astral. “You’re into new planets, are you?” crows the frontman of “cosmic dross” band Henge.
For Steward, the space theme is also about imagining an equitable new world. “You might meet somebody here with a learning disability, or an autistic person. You might not. But everyone is equal in this space.” The Robyn’s Rocket nights echo the aesthetic and political spirit of Afro-futurist jazz visionary Sun Ra and his Arkestra. “The idea that you can create a different dimension, almost a different planetary experience, at these events is very consistent,” says Mark Williams, co-founder of the Deptford-based arts charity Heart N Soul (where Steward is an associate artist). “It’s using imagination and creativity to free people, and to exist on a different kind of plane.”
Steward was born in Suffolk, and took to music when a tutor brought instruments to her primary school: “I really wanted to go on the trumpet, but they ran out of time, so I spent a whole week blowing raspberries.” The tutor returned for an assembly the next week, and Steward immediately requested the trumpet. “I played a clear note straight away.”
As an infant, Steward used Makaton (a language that uses a combination of signs, symbols and speech) to communicate until she attended Musical Keys, a group for children with special needs, aged three: “It was song based, and so I learned to speak that way – there was a lot of repetition.” Once she learned to speak, she wouldn’t stop; her parents got her a Dictaphone for long car journeys: “They’d say, ‘You can talk to this Dictaphone as much as you want, but leave us alone in the front.’ I would make my own radio shows that would come out sounding like Alan Partridge’s Knowing Me, Knowing You.”
Unlike her East Anglian counterpart, Steward is an excellent, direct communicator. The first half of her career was spent delivering autism training, speaking at conferences, and in research. She’s also written books such as The Autism-Friendly Guide to Self Employment. But, by age 30, Steward became “very conscious that I needed to think about what I want to spend the rest of my life doing”. She had recently learned to improvise on trumpet through the big band at a local adult education centre, and seeing a gig by trumpeter Andy Diagram (who plays the trumpet with guitar pedals) proved crucial to developing her own art. With the help of Heart N Soul, she built Robyn’s Rocket up from a small residency in Deptford to a regular slot at Cafe Oto in east London, later inviting musicians including Alabaster DePlume, Coby Sey and Mica Levi to perform.
The vocalist Seaming To played a Rocket night in 2024. “More and more friends of mine are realising that they have neurodivergent aspects,” Seaming To says. “And quite a lot of them find it really awkward coming out to noisy places. At Robyn’s night, you can admit to feeling awkward, and it’s all acceptable.”
On the night, Steward dons her trademark purple fedora and doubles up as space trumpeter and energetic MC. “I’ve done this gig partly because I just wanted to put Henge on,” she says, beaming from the stage. For all the very human practicalities of Robyn’s Rocket, Steward still has celestial ambitions. “And why wouldn’t you want to put them on in a homemade spaceship?”