Review & Photography by Manny Manson for MPM
I’ve been very fortunate to have lived through a time when we had music variety at our finger tips. Both the television and the radio provided a veritable smorgasbord of genres to listen to without having to go searching on specialized channels to hear our favourites.
SWEET featured heavily in my youth alongside the likes of Marc Bolin and T-Rex, the mighty Status Quo and Suzi Quatro. The 70’s were special, Choppers and Humphreys, R-Whites and the Flake adverts where everyday things, It was a time when you could leave your back door open and people cared about each other. We wore massive flared trousers with equally massive collared shirts and huge platform shoes, we danced the ‘Angel’ dance at school discos and had fun behind the bike sheds. Oh, happy days, not to mention the warm summers, a more innocent time. But I digress.
To get another chance to hear the timeless classics from ‘SWEET’ played live yet again is something I couldn’t miss, and a big bonus, my mate Troy Redfern is on the undercard again as he was back in 2021.
Troy Redfern is a name that resonates with anyone who loves raw, unfiltered blues-rock, a modern slide guitar maestro whose sound channels the spirit of the Delta while roaring with the energy of a rock powerhouse. Hailing from Hereford, England, Troy has carved out his niche as a fiercely talented and passionate performer, blending bottleneck wizardry with a deep understanding of the blues and a flair for explosive, genre-defying energy. At the heart of his sound is his mastery of the slide, wielding both brass and glass bottlenecks with precision and emotion. The brass slide delivers a thunderous, growling resonance that commands attention, while the glass slide offers a shimmering clarity and vocal-like quality, showcasing Troy’s ability to shift seamlessly between ferocity and tenderness. He currently favours a lead crystal slide custom made to his requirements by Diamond Bottlenecks, his signature model can seen at www.diamondbottlenecks.com/troyredfern.html
His choice of gear underscores his unique artistry, with his 1935 National Duolian resonator serving as the cornerstone of his style. Paired with custom Telecasters and Gibson Les Paul’s, and driven through the lush harmonics of his Magna tone Super Fifty-Nine-amp, Troy’s tone is as dynamic as his playing. The Magna tone’s pitch-shifting vibrato and rich tube warmth provide the perfect backdrop for his slide to soar, while his pedalboard adds layers of fuzz, reverb, and delay that elevate his performances to near-mythical status.
Troy’s journey is reflected in his discography, each album a statement to his evolution as a musician and his unrelenting drive to push boundaries. His debut, “The Troy Redfern Band” in 2014, introduced the world to his raw talent and fearless creativity. Tracks like “Back Home” and “The Other Side” burst with gritty blues-rock energy, powered by a tight rhythm section featuring Stuart McDonald on bass and Alex Bridge on drums, whose interplay grounded Troy’s wild slide work. With “Backdoor Hoodoo” in 2015, Troy took a darker turn, diving into swampy grooves and cinematic soundscapes. Collaborating with acclaimed drummer Chris Rivers of Heaven’s Basement, Troy built a record steeped in mood and atmosphere, with standout tracks like “The Brave” and “Salvation” capturing a sense of brooding intensity.
In 2017, “Dirt Blues Ritual” stripped everything back to the essentials, delivering a raw and primal exploration of the Delta blues. Recorded largely live, the album saw Troy’s resonator take center stage, supported by Paul Stewart’s thunderous drumming and Dave Marks understated yet essential bass lines. Tracks like “It Stacks” and “Sign of the Times” were imbued with the kind of earthy authenticity that felt like stepping into a Southern juke joint. By 2020, Troy had turned inward, producing “Island,” a deeply introspective album that channeled personal reflection into haunting melodies and fiery guitar work. Longtime collaborator Darby Todd’s intricate drumming added depth to songs like “King on a Horse,” while Dave Marks returned on bass, offering a steady foundation for Troy’s emotionally charged performances.
With “The Fire Cosmic” in 2021, Troy unleashed a career-defining record that cemented his place as one of the premier modern blues-rock artists. Featuring bassist Dave Marks, drummer Darby Todd, and guest appearances from Ron “Bumblefoot” Thal, the album was a tour de force of slide-driven rock. Tracks like “Sanctify” and “Ghosts” showcased a fiery intensity, with Troy’s bottleneck tearing through the mix like a storm. Critics and fans alike hailed it as a modern classic, and it earned Troy accolades, including a nomination for Best Blues Guitarist at the UK Blues Awards.
In 2022, Troy followed up with “The Wings of Salvation,” a record that married soulful melodies with his signature slide work. Returning with Darby Todd and Dave Marks, this album leaned into heartfelt storytelling, with songs like “Gasoline” and “Sweet Carolina” showcasing a matured sound. The interplay between Troy’s slide and the lush production provided a richly layered listening experience. This momentum culminated in his latest release, “Invocation,” in 2024. Recorded with drummer Vinnie Colaiuta, bassist Chris Chaney, and keyboardist Dean Beresford, the album is a stunning exploration of mysticism and power. Tracks like “Rite of Passage” and “Celestial Fire” bristle with intensity, while the haunting “Invocation” stands as one of Troy’s most evocative compositions to date, blending his signature slide with atmospheric keys and percussion to create a soundscape that’s both otherworldly and grounded in primal emotion.
Troy’s onstage presence is nothing short of captivating. Dressed in leather jackets, flowing scarves, and wide-brimmed hats, he exudes a timeless rock ‘n’ roll charisma. His long hair and effortless cool bring to mind the golden age of rock, but his energy is all his own. Whether he’s hunched over his resonator, wrenching ghostly wails from its steel body, or tearing through a blistering solo on his latest electric aquisition, Troy commands every inch of the stage. His Magna tone amp roars behind him, its lush tones filling the venue as his slide work takes the audience on an unforgettable journey.
Troy Redfern’s accolades speak to his impact on the blues and rock world. From critical acclaim for his recordings to standout performances at major festivals like Ramblin’ Man Fair, where he shared the stage with rock legends, his reputation continues to grow. As a guitarist, songwriter, and performer, Troy has proven himself a true force of nature, carrying the torch for the slide guitar tradition while blazing a trail entirely his own.
Ah I seemed to have digressed a tad, so how was his set?
Simply put it was a Raw, High-Energy Masterclass, Rock City, already alive with anticipation for tonight’s headliner. SWEET always bring the goods and tonight the crowd had surged in too see them play at this hallowed venue, its gritty walls, yet again, ready to soak in another night of rock history. But before that, all eyes were on the stage as drummer, Paul Annis stood at his stripped back kit and knocked out a percussive thunder. Troy Redfern eventually strode out, a commanding figure with an effortless air of cool. Clad in a stripped-back vest under an open, black leather, that revealed beaded adornments draped over his chest, somewhat reminiscent of a Sioux warrior, indeed, Troy looked every bit the modern blues outlaw.
His iconic Redfern Rambler hat casting a shadow over his intense, bearded gaze, and his diamond bottleneck slide, gleaming under the stage lights, hinted at the magic about to unfold. Beside him, Paul Annis stood flailing at his stand-up drum kit, threatening to deliver a night of thunderous drum pummeling.
The first notes of “SHAKIN’” ripped through the air like a war cry. Written for his recent tour with Philip Sayce, this unreleased track exploded with raw energy. Troy’s battered guitar screamed and snarled under his slide, every riff crackling with urgency. Annis matched him as a force of nature, he pounded out a relentless rhythm that felt like a heartbeat gone feral. The two locked eyes throughout, their connection electric as they pushed the song to its breaking point. Troy stalked the stage, his beaded adornments swaying with every movement, commanding the audience like a shaman conjuring spirits.
Without missing a beat, they launched into “TAKIN’ MY SOUL,” another unreleased track from the Sayce tour. This song was a different beast, darker, moodier, and dripping with raw emotion. Troy’s voice was a mix of grit and vulnerability, every lyric delivered as if torn from the depths of his soul. His slide work was nothing short of hypnotic, each note bending and wailing in a way that seemed to echo pain and triumph in equal measure. Annis matched him perfectly, his drumming a primal pulse that built tension with every beat. Together, they created a sound so visceral you could see the crowd were in awe of this man’s talents.
Next came “NATIVE,” a standout from Troy’s latest album, INVOCATION, released earlier this year. On the record, it’s a rich, layered track featuring Keira Kenworthy’s ethereal backing vocals and Dave Marks’s bass grooves, but live, it was stripped to its core. The minimalist arrangement only amplified its power, with Troy’s slide guitar painting vivid sonic landscapes of wide-open plains and endless skies. The diamond bottleneck slide glinted under the shifting lights as he coaxed haunting melodies from his guitar, while Annis continued to lay down a pulsing, hypnotic beat that thrust the song forward. It was a moment of pure magic, the crowd seemingly enjoying on every note.
The set shifted gears with “WAITING FOR YOUR LOVE” from Troy’s 2021 album, FIRE COSMIC. This was blues-rock at its most heartfelt, a soulful anthem that wrapped around the crowd like a warm embrace. Troy’s vocals were rich and resonant, his delivery filled with a longing that hit straight to the heart. His slide solo was a masterclass in emotional expression, each note ringing out with clarity and purpose. Annis, ever the versatile drummer, switched to a gentler rhythm, his lighter sticking helping to create a soft, heartbeat-like foundation that complemented the song’s tender vibe.
Finally, the set roared to its climax with “SANCTIFY,” also from FIRE COSMIC. If the rest of the night had been a storm, this was a full-blown hurricane. Troy unleashed an onslaught of slide guitar fury, his diamond bottleneck blazing across the fretboard as he pulled out screeching highs and guttural lows that seemed to defy the laws of sound. Annis attacked his simple drum kit with a ferocity that bordered on the unhinged, the two of them creating a wall of sound so powerful it felt like the room itself was shaking. Troy’s vest clung to him, beads swaying wildly as he threw himself into every note, his knee injury be damned.
As the final note hung in the air, the room erupted into cheers and whistles. Troy, sweat dripping from beneath his hat, flashed a grin that spoke of hard-earned satisfaction, a grin that wouldn’t have been out of place on the face of Clint Eastwood in ‘The Good, The Bad and The Ugly’. Despite the knee injury that would’ve slowed a lesser performer, he had delivered a powerhouse set brimming with intensity, passion, and pure musical brilliance.
Troy Redfern is more than just a slide guitar virtuoso, he’s a veritable force of nature, a blues outlaw whose performances feel more like rituals than gigs. Backed by the seismic, Paul Annis, he turned Rock City into his personal gladiatorial arena, and in doing so left everyone in no doubt to who Troy Redfern is. Long live the King of Slide Guitar.
The crowd cheered as the pair left the stage. The ever-humble Troy quickly re appearing, like the Shop keeper in Mr Ben, amongst the crowd as he made his way to his merch stand where fans old and new queued to say hi, whilst others made for the bar to replenish their drinks as they waited for the SWEET to make their grandiose entrance. For those not up to speed with one of Britain’s foremost Glam bands here’s a little recap on their legend!
SWEET (originally known as The SWEET) are a British rock band that formed in 1968, renowned for their pivotal role in the glam rock movement of the early ’70s. The band’s infectious pop-metal sound, marked by catchy hooks, harmonized vocals, and hard rock elements, quickly made them a household name. They were part of a wave of glam acts like T. Rex, David Bowie, and Slade, blending rock with theatrical visuals and flamboyant stage presence. SWEET’s rise to fame came with their collaborations with producers Nicky Chinn and Mike Chapman, who helped craft their early hits, including “Funny Funny” (1971) and “Co-Co” (1971). However, it was “Ballroom Blitz” (1973), “Fox on the Run” (1974), and “Little Willy” (1972) that solidified their place in rock history, each becoming an anthem of the era, widely loved by rock fans and radio stations alike.
Throughout the ’70s, SWEET’s sound evolved. Initially riding the wave of glam pop, they transitioned into a more hard rock-oriented style, especially with albums like “Desolation Boulevard” (1974) and “Give Us a Wink” (1976). These albums featured heavier tracks such as “Set Me Free” and “Hell Raiser”, which showcased their growing prowess as musicians and lyricists. They found success not only in the UK but also in the US, where “Love Is Like Oxygen” (1977) became one of their biggest hits, marking their crossover into the international rock scene. Their musical journey continued throughout the late ’70s and early ’80s with albums like “Off the Record” (1977) and “Identity Crisis” (1982), but the changing musical landscape, as well as internal tensions, led to the band splitting up during the early ’80s.
SWEET’s discography remains an essential part of rock history, with standout albums like “Desolation Boulevard” (1974), “Give Us a Wink” (1976), and “Off the Record” (1977) still being celebrated by fans old and new. Their music, from the sugary pop of their early days to the heavier rock of their later albums, remains influential. Despite the passing of key members and the challenges that have faced the band, SWEET‘s impact on rock and glam culture is undeniable. Their ability to blend infectious melodies with heavy guitar riffs and harmonized vocals made them one of the most iconic bands of the ’70s, and their legacy continues with every performance and new generation of fans discovering their music.
Over the years, the lineup of SWEET has seen numerous changes, especially following the departure of key members. Brian Connolly, the iconic lead singer whose voice defined much of their early sound, left the band in 1979 due to health issues and struggles with substance abuse. Sadly, Connolly passed away on February 9, 1997, after battling liver and kidney failure. Steve Priest, the band’s bassist and co-vocalist, played an integral role in shaping SWEET’s identity, particularly with his energetic stage presence and distinctive vocal harmonies. He left the band in 1982, and though he later formed a version of SWEET in the 1990s, Priest tragically passed away on June 4, 2020, following complications from surgery. Drummer Mick Tucker, known for his solid rhythms and powerful beats, also passed away prematurely, succumbing to leukemia on February 14, 2002.
The remaining member, Andy Scott, has been a constant throughout SWEET’s tumultuous history. As the lead guitarist and one of the founding members, Scott has carried the legacy of the band, becoming the sole surviving original member in the present day. His leadership has allowed SWEET to continue performing and connecting with fans, despite the changing lineup. Today, the band is led by Andy Scott, with Paul Manzi on lead vocals (having joined the band in 2018 to replace Steve Priest), Lee Small on bass and backing vocals, (Bruce Bisland on drums,) Adam Booth has replaced Bisland on this tour and Tom TC Cory on keys. This lineup continues to perform the classic SWEET hits, bringing their glam rock energy to modern audiences while keeping the spirit of their early years alive.
The Glam Rock Glory in Full Swing in the bands favourite of favourite venues, Rock City, which was now buzzing with anticipation after Troy Redfern’s blistering opening set had left the crowd breathless. Yet the energy in the room hit another gear as SWEET took the stage, bringing their iconic glam rock legacy to life.
The stage lights flared, the room roared, and Paul Manzi, front and center, raised a fist to the crowd. “Let’s get this party started!” he declared, and with that, the opening riff of “ACTION” (from 1976’s Give Us a Wink) tore through the air.
It was an instant explosion of 70s pop-metal magic, Manzi strutting the stage with charisma while Jim Kirkpatrick, standing in for Andy Scott, ripped into the riffs with precision.
Bassist Lee Small, his dreadlocks flying, locked in with Adam Booth’s pounding drums, and keyboardist/guitarist Tom Cory added a shimmering layer to the track’s infectious hooks.
The momentum didn’t falter as they launched into “HELLRAISER” (1974’s Strung Up) The crowd, already on their feet, became a sea of fists and voices, belting out every word of this glam anthem. Manzi worked the audience like a master, leaning into the front rows with a wink and a grin, while Small spun in circles, his basslines throbbing through the floorboards.
Between songs, Manzi took a moment to address the crowd. “Now, for those asking—Andy’s still alive!” he quipped, sparking laughter. “But he’s taking it easy, doctor’s orders, after fracturing his pelvis. So, we’ve got Jim here filling in.” Kirkpatrick grinned and showed off his foot. “Big shoes, but I think they fit just fine,” he joked, earning cheers before the band launched into “BURN ON THE FLAME” (Strung Up, 1974). This driving rocker kept the energy high, Kirkpatrick adding his own flair to the solo while Booth’s drumming added a thunderous backbone.
The crowd barely had time to catch their breath as “THE SIX TEENS” (Desolation Boulevard, 1974) followed. Lee Small took center stage for a moment, spinning with his bass in hand and drawing cheers from the crowd. The haunting yet melodic track showcased SWEET’s ability to balance powerful rock with pop sensibilities, and the audience was fully hooked.
Next came “DON’T BRING ME WATER” (Full Circle, 2024), a deeper cut that gave the band a chance to show off their groove. The chemistry between Manzi and Kirkpatrick shone here, the two trading smiles as they weaved the track’s intricate rhythms. They followed it up with “DESTINATION HANOVER,” another newer track that felt fresh yet familiar, its modern edge blending seamlessly with the band’s classic sound.
A 1971 medley (from, Funny How Sweet Co-Co Can Be) brought a taste of “CO-CO,” “FUNNY FUNNY,” and “POPPA JOE,” drawing delighted cheers as the band celebrated their bubblegum-glam roots. The upbeat vibe carried into “CIRCUS” (Full Circle, 2024), a whimsical rocker that had the audience bouncing. Manzi’s vocals soared through the room during “SET ME FREE” (Sweet Fanny Adams, 1974), while “WINDY CITY” (Off the Record, 1977) exampled the band’s heavier side, with Kirkpatrick and Small locking into a massive groove.
The set reached a fever pitch with “AC/DC” (Sweet Fanny Adams, 1974), the band driving the crowd into a frenzy with its swaggering riff and raucous energy. From this point, SWEET took everyone on a trip down memory lane, unleashing the timeless “TEENAGE RAMPAGE” (1974) and the iconic singalong “WIG WAM BAM” (Funny How Sweet Co-Co Can Be, 1971), which flowed seamlessly into the cheeky “LITTLE WILLY” (Funny How Sweet Co-Co Can Be, 1972).
Manzi slowed things down briefly, introducing “LOVE IS LIKE OXYGEN” (Level Headed, 1978) as “a song Andy wrote.” The shimmering melody filled the room, with Tom Cory’s keyboards taking center stage and Kirkpatrick delivering a soulful solo that drew cheers from the crowd. Then, just when it seemed the night couldn’t get any better, SWEET closed the main set with the mighty “FOX ON THE RUN” (Desolation Boulevard, 1974). The band gave it their all, and the audience responded in kind, singing every word as if their lives depended on it.
The band left the stage, but the crowd wasn’t ready to let go. Chants of “WE WANT SWEET!” filled the air, and within moments, the sirens of “BLOCKBUSTER” (Sweet Fanny Adams, 1974) wailed through the venue. The stage lights swept across the room as the band reappeared, and Tom Cory struck up the unmistakable riff. The crowd bounced along, the energy hitting a new peak as Adam Booth’s drumming drove the song home.
Finally, it was time for the grand finale: “BALLROOM BLITZ” (Sweet Fanny Adams, 1974). Manzi grinned as he called out, “Are we ready, Jim? Are we ready, Lee? Are we ready, Rock City?” The crowd erupted in a resounding “YES!” before the band tore into the song with everything they had. Kirkpatrick and Small traded licks, Cory’s keys added flair, and Booth’s drum work gave the track its unrelenting pace. Manzi’s vocals were pure fire as he led the crowd in a call-and-response that had everyone shouting, clapping, and dancing in unison.
When the final chord rang out, the band took their bows, grins plastered across their faces. SWEET had yet again delivered a show that was equal parts nostalgia and pure rock spectacle. My head, still buzzing, as I filtered out into the Nottingham night, no doubt mine and other heads full of hooks, riffs, and the sheer magic of glam rock done right. Long live SWEET!
