Punk exploded into Britain in the mid-1970s. It was loud, raw and rebellious. It rejected the idea that only trained musicians or established artists deserved to be heard. Anyone could pick up a guitar, print a fanzine or start a band. The message was simple: Do It Yourself.

For many disabled people, that spirit was transformative.

At a time when disabled people were still often excluded from education, employment, entertainment and public life, punk offered something different. It celebrated individuality, questioned authority and challenged society’s expectations. For some, it became a place where they finally felt they belonged.

Musician and songwriter Ian Dury, who had polio as a child, became one of punk’s most distinctive voices. Refusing to hide his disability, he challenged audiences’ assumptions through wit, intelligence and unforgettable performances. At the same time, artists such as Poly Styrene, the frontwoman of X-Ray Spex, rejected traditional ideas of beauty, gender and conformity, inspiring generations of outsiders to embrace who they were rather than trying to fit in.

Punk also developed alongside the emerging disability rights movement. Throughout the 1970s and 1980s, disabled activists were demanding equal rights, accessible transport, independent living and the opportunity to participate fully in society. Although these campaigns did not always overlap directly with the music scene, they shared a common belief: people should not be defined or limited by other people’s expectations.