London Met launches search for Rocket club memories from Holloway’s past News

Early years 

• 1896–97: The building now known as The Rocket was opened by the Lord Mayor of London as the Great Hall of the Northern Polytechnic Institute, one of London Met’s predecessor institutions. It seated around 1,300 people and hosted lectures, recitals and social dances. 
  
  
• 1920s: By 1929 the hall was fitted with a proscenium stage and renamed The Polytechnic Theatre, reflecting its role as a venue for operas and plays 
  
  
• 1930s In 1938 the Modern Symphony Orchestra (MSO) was officially adopted by the Polytechnic Music Trades School and so became a part of the Northern Polytechnic Institute. Because of the terms of its charter the polytechnic was unable to subsidise the orchestra, but it provided rehearsal space and a theatre in which to perform.  
  
  For the next 44 years, until 1975, Arthur Dennington, was the Orchestra’s main conductor. In 1981 Dennington received an Honorary Fellowship of the Polytechnic Northern London University in recognition of the important work he’d done with the MSO. 

1970s

In the early 70s, the Polytechnic of North London, the new name was building a name as a standout live music venue. 

When John Martyn played the Polytechnic in 1970, he was already starting to reshape British folk. His mix of acoustic guitar, jazz and improvisation made his set feel more like a glimpse of what was coming. He went on to become one of the most influential musicians of his generation. 

In 1971, Fleetwood Mac played with Mick Fleetwood, John McVie and Christine McVie in the line-up, three members who would later form the core of the band’s world-famous Rumours era. At this point, though, the sound was very different. The band had started to move away from their original blues roots, but guitar-driven British blues still shaped much of their set. 

Slade took to the stage in 1972, all platform boots, glitter and singalong anthems — a symbol of the loud, swaggering sound of British glam at its peak. They were one of the biggest bands in the country at the time, and their appearance helped cement the venue’s reputation. 

Just a few years later, Dr. Feelgood brought something very different. Their sound embodied the pub-rock scene, and their working-class attitude fit with the surroundings. Although not part of the punk movement, they were a clear influence on it. Many who saw them play went on to form bands of their own. 

As the decade continued, the Poly attracted a mix of acts who reflected the changing sound of British music. The Jam came through with their sharp suits, The Damned delivered the chaos and speed of early punk. There were more unexpected bookings too. Can brought their experimental krautrock to the stage. Thin Lizzy, Supertramp and Mott the Hoople all played, showing that the venue could draw major names while still backing bands out of the mainstream. 

As documented by the Islington Pride website: 

“On the evening of Saturday 1 July 1972, the day of the first London Gay Pride protest in central London, organised by the Gay Liberation Front (GLF), the post-parade disco was held here at the Polytechnic of North London. It promised ‘music, lights and even more surprises.’ This reflects an important aspect of Britain’s LGBTQ+ history from GLF onwards: the combination of protest and celebration—serious political action with fun, play and party, often combined in the same event.” 

In the 1980s, the Polytechnic gave a platform to bands trying new things. The Fall played a number of times, with their rough-edged songs and no-frills style. A Certain Ratio mixed punk with funk, creating a sound that was sparse and a bit off-centre. New Model Army played loud, serious music with a strong political streak, while Billy Bragg turned up with just his guitar and made just as much impact. 

In 1982, just two years after forming from the ashes of Joy Division, New Order appeared at the Polytechnic. They hadn’t yet settled on their new sound but were beginning to experiment with the synths and drum machines that would soon define them. That evolution would later come to fruition just a year later with their seminal hit Blue Monday. 

Some of the acts leaned more towards indie pop. Orange Juice were tuneful and clever. The Housemartins, fronted by Paul Heaton and featuring Norman Cook (later Fatboy Slim) on bass, combined singalong melodies with thoughtful lyrics and a lot of heart. My Bloody Valentine played in 1987, long before they were well known, with a noisy, swirling sound that stuck with people. 

Other bands kept things raw. The Screaming Blue Messiahs were fast and intense. Pop Will Eat Itself brought a mix of guitars, electronics and samples that felt chaotic but fresh.  

Among the most notorious events was a The Jesus and Mary Chain concert on 15 March 1985. Overselling of tickets and the band’s abrasive style led to chaos, the show lasted only about 16 minutes before concert-goers erupted in a riot, smashing the band’s equipment and tearing down the PA system. Roughly £8,000 worth of damage was done, with police called to regain control.

In the 1990s, the Rocket continued to host bands just before they broke through. Lush played in 1991, with their hazy guitar sound. Pulp performed that same year, still a few years away from the Britpop spotlight. The Levellers had already played in 1989, mixing folk and punk with a strong message that resonated with student crowds. 

At the same time, the Rocket was becoming known for its club nights. Club Orange was a regular fixture, popular with students and locals alike, known for its mix of house, techno and indie-dance. It had a reputation for being loud, sweaty and a bit unpredictable. 

Later in the decade, nights like Return to the Source helped introduce new electronic sounds. The Rocket became a key venue for early drum and bass, acid house and trance, with DJs like Fabio, Grooverider, Hype, Randall and Seduction playing some of their first London sets. These nights helped shape the underground music scene and gave space to sounds that hadn’t yet broken into the mainstream. 

In the mid-90s, the space was divided vertically. The upper floor preserved the Grade II listed Great Hall for formal university events. The lower floor became a student bar, retaining The Rocket name. 

The Great Hall is mainly used for exams and official university events. The downstairs Rocket continues as a café-bar and study space, carrying forward more than 130 years of culture, community and student life on Holloway Road.