Opening Doors: Harry Bassett’s Journey with Diverse City
When Harry Bassett first saw a marching band dressed as Spider-Man at the age of three, he couldn’t have imagined the creative journey ahead of him.
Today, Harry is a composer, musical director, and performer — and as a disabled artist and wheelchair user, he’s redefining what’s possible in the arts.
His path wasn’t traditional. It was intuitive, improvised, and deeply personal — a story of sound, serendipity, and support. In a recent conversation with Diverse City, Harry shared how he found his creative voice. He talks about how the charity helped him grow, not only as an artist, but also as an advocate for inclusive performance.
The Spider-Man Band and a Musical Awakening
Harry’s love of music began with a community marching band dressed up as superheroes. He learned trumpet informally — “not using any notation, just by ear” — and grew up making music instinctively.
As a teenager, he taught himself keyboard and began building melodies and soundscapes — planting the seeds for his future as a composer and sound designer.
“I never planned to be a composer or sound designer,” Harry says. “It just evolved naturally, by following the sounds I wanted to make.”
A Chance Meeting That Changed Everything
While waiting at an airport in Tenerife, Harry met Diverse City’s co-founder Claire Hodgson — entirely by chance. His partner at the time recognised Claire from the 2012 opening ceremony for the Olympic sailing events and encouraged him to say hello.
“We got talking, and I told Claire about my music, growing up in a SEND school, and wanting to find new ways to freelance,” Harry recalls. “She just said, ‘Come along to one of our residencies and see what we do!’”
That meeting led to an invitation to attend a residency with Extraordinary Bodies Young Artists — the youth wing of Diverse City’s circus performance company Extraordinary Bodies, led in collaboration with Cirque Bijou.
“They were all hanging from hoops and doing circus things, and I just sat in the corner, noodling and twinkling along on a keyboard,” Harry laughs. “That’s where it all started.”
Those “noodles” and “twinkles” caught the attention of the team, and just months later, Harry was invited to compose for a new Extraordinary Bodies Young Artists show — stepping into the role of Musical Director and Composer for the first time.
It wasn’t a formal audition or an application process. It was trust, collaboration, and creative instinct — a true example of how Diverse City works with people, rather than ticking boxes.
“I had no experience composing for theatre,” Harry says. “But they saw something in me and gave me the space and trust to learn. It was a massive learning curve — but it changed my life.”
Creativity in a Cupboard: Making Till We Win
When the pandemic hit, live performance paused — but creativity didn’t. Instead, Harry and the Extraordinary Bodies Young Artists made an audio play in a makeshift, soundproof cupboard, working artist by artist, and sanitising between takes.
“It was surreal — but it kept us going creatively when the world had shut down,” Harry reflects.
The resulting piece, Till We Win, became a 50-minute mix of storytelling, music, audio recording and animation. Born from isolation, it went on to tour to Brighton Dome and Birmingham Rep— Harry’s first major work as a composer.
“Seeing that show come to life after everything we’d been through — it was an incredible feeling.” — a work born out of isolation, but full of connection and hope.
Touring, Performing, and Finding Identity
Harry’s journey with Diverse City didn’t stop at composing. He toured as a performer with Extraordinary Bodies’ show Human, co-created with Cirque Bijou, understudying drummer Jonny Leitch and stepping into a new identity as a musician-actor.
“Touring changed everything. I realised I didn’t want to be stuck in a traditional music college path — I wanted to be a freelancer, balancing music, theatre, and creativity.”
Diverse City didn’t just offer work — it offered mentorship, access support, and trust. Harry received help applying for an Access to Work grant, tailored rehearsal schedules, and encouragement to step into facilitator and creative leadership roles. Projects like Connecting Communities enabled him to inspire the next generation of emerging artists.
Pavements, Paraorchestra and Glastonbury
Another unexpected opportunity came when Harry was asked to step in last-minute as a percussionist for Paraorchestra during Brighton Festival — all while touring with Human.
“I didn’t have a clue about the show, the music, or anyone in the company. I had a day and a half to learn everything before it hit the streets of Brighton!”
That fast-paced introduction led to him being invited back — this time in his main musical role as a trumpet player. While Harry doesn’t work frequently with Paraorchestra due to his non-classical background, he’s performed their street show SMOOSH! on several occasions — including at Glastonbury Festival.
“It was a wild, joyful experience — moving through crowds, blasting brass, just letting the music connect with people.”
His time with Paraorchestra also led to new creative collaborations, including working with fellow musician Liza Bec on an original show, The End Times, which will soon be touring.
“It’s all connected — each project opens a new door.”
Championing Accessibility in the Arts
As a wheelchair user, Harry knows how often venues are accessible for audiences — but not for performers.
“I’ve turned up at so many venues where I could get in as an audience member, but not on stage. It’s still a battle sometimes. But Diverse City showed me I don’t have to fight alone. They gave me the tools and support to advocate for myself and others.”
“They make sure you’re there to do your job — not battle barriers. It’s not just about ramps and lifts. It’s about dignity and the belief that everyone has the right to create.”
This ethos sits at the heart of Diverse City’s approach: working dynamically with every artist, recognising that no two creatives are the same, and making bespoke adjustments to support each one.
Inspiring a New Generation and Looking Ahead
Harry’s story is a powerful example for other young creatives — especially disabled artists — who may feel that barriers are too high to even dream.
Harry is now a Lead Artist on Diverse City’s 2-year programme of inclusive music training, for talented emerging D/deaf, disabled, and neurodivergent young artists from across England, funded by Youth Music Trusts Trailblazer, Through this work with Diverse City plus Bournemouth Symphony Orchestra’s Young Associates scheme, and outreach with Emerald Ant, Harry is now helping others find their voices through music and creativity.
“You don’t have to fit someone else’s mould to be an artist. There are so many ways to create, to collaborate, and to build a career that’s truly your own.”
Harry is also making a new show with Diverse City: The Other Life I Lead, a gig-theatre piece touring in 2026–27, where live music and storytelling are intertwined.
“It’s about flipping the theatre model — music leads the story. I’m excited to see where it goes.”
Reflecting on the Journey
Asked to sum up his experience with Diverse City, Harry says:
“It’s been a journey of growth — exploring my identity as an artist and realising I have as much to offer as anyone else. It’s about honing your skills and finding your way.”
At Diverse City, there’s no one-size-fits-all approach. Each artist is welcomed for who they are — often before they fully know what they have to offer. Harry’s story is a vivid example of what happens when someone is trusted, nurtured, and given the space to thrive — not because they meet a quota, but because they’re seen for their potential. It’s what Diverse City does best:
Opening doors. Making space. Trusting artists to find their own way.
Support Us to Open More Doors
Harry’s story is just one example of what’s possible when disabled artists are given real opportunities to grow, create, and lead.
Support us to help open more doors for the next cohort of boundary-breaking artists. 
