Album Review: Sweet - Live 25 (Metalville, 2026)

Written: 10th October 2026

Few bands captured the exuberance, swagger and immediacy of 1970s glam rock quite like Sweet, whose catalogue of hit singles ensured their place amongst the era's defining names. Following the band's dissolution in 1981, guitarist Andy Scott revived the name in 1985 and continues to lead his own incarnation of Sweet, featuring vocalist Paul Manzi, bassist Lee Small, guitarist and keyboardist Tom Cory, and drummer Adam Booth. While 2024's Full Circle – the band’s first set of original songs since 2002’s Sweetlife - proved that Sweet still had fresh creativity to offer, Live 25 finds them celebrating both past and present.

Following the introduction which uses part of the title track from Full Circle, Sweet hit the stage with Action, one of their most recognisable hits. With its infectious synths and chugging riffs, it is a high-octane opener that sets the bar high for the rest of the performance. Paul Manzi delivers the classic lines with a commanding presence. Oh, I was suicidal 'cause you was my idol / Baby, baby, baby, bring it to your knees / Oh, there was a time I would have walked the line / But you bled me dry with your insatiable greed. Andy Scott and Tom Cory, who joined the band in 2019, have developed a fiery partnership and the track feels just as alive as it ever has. An invitation for the audience to join Sweet for an evening of glamour, volume and unashamed entertainment. Hellraiser follows immediately and highlights that Sweet were never simply purveyors of glitter and spectacle. The performance bristles with energy and attitude, demonstrating that there was always a sharp edge beneath the band's flamboyant exterior.

With Full Circle being so well received, it is pleasing to see that two songs from that album feature here. Circus – which makes use of carnival imagery to explore the frustrations of modern life – is a fiery track during which drummer Adam Booth certainly makes his presence felt. The guitar solos are technically excellent but delivered with sufficient verve to avoid feeling clinical. Following Circus, there is a poignant moment during which Manzi introduces Andy Scott back after his cancer treatment. Scott gives a heartfelt thanks for the messages of support from fans. It is fitting that this inter-song dialogue remains and the audience give a warm and genuine response. Bluesy in nature, Don’t Bring Me Water occasionally recalls eighties Yes or Whitesnake and there are times when Manzi sounds a little like a certain Mr. Coverdale. Without doubt, both tracks are worth their place in the setlist.

Between these two new songs, we are treated to The Six Teens which Manzi introduces to the Shepherd’s Bush crowd with, “Let’s take you lovely people back to the beautiful seventies. What a great decade!” Originally featuring on the excellent Destination Boulevard album, the blend of acoustic and electric guitars is handled wonderfully and bassist Lee Small perfectly delivers the high vocal lines that sit before the chorus. That a song from 1974 can be placed alongside material written fifty years later without disrupting the flow of the set is a considerable compliment to the band's more recent songwriting.

A pair of tracks from 1977’s Off The Record – which found the band exploring a broader sound - follow in the shape of Lost Angels and Windy City. Lost Angels is a particular highlight; its robust rock foundations offset by layers of soaring vocal harmonies that occasionally bring Queen to mind. Windy City – as many others have observed – has a riff heavily inspired by Deep Purple's Woman From Tokyo, but the song succeeds through sheer force of personality, blending hard rock muscle with melodic sophistication and a gorgeous mid-song keyboard section. Set Me Free follows, remaining one of the clearest examples of Sweet's versatility, combining infectious melodies with a rawer, more aggressive approach that placed them firmly among the more formidable rock bands of their era. It also provides an opportunity to hear Andy Scott recreate the celebrated tin-can slide guitar solo that has become one of the song's most distinctive features.

On the night, the band also performed a medley of Co-Co, Funny Funny and Poppa Joe whilst Andy Scott took a brief mid-set break. That segment, along with Burn On The Flame, is absent from Live 25. Whilst the former omission is more understandable, the absence of Burn On The Flame is more surprising given that the album runs to seventy-two minutes, leaving ample room on a CD for at least one additional track.

A run of early seventies singles in the shape of Teenage Rampage, Wig-Wam Bam and Little Willy serves as a timely reminder that Sweet's gift extended far beyond visual flamboyance. The rhythmic drive of Wig-Wam Bam remains particularly striking, its hypnotic beat and chant-like vocal arrangement retaining all of their original potency. More than fifty years on, these songs still sound remarkably fresh.

Love Is Like Oxygen remains one of Sweet's finest achievements. From its instantly recognisable opening riff to the sweeping keyboard work and ambitious extended instrumental passage, it continues to sound far removed from the three-minute glam singles with which Sweet are most commonly associated. On Live 25, the song loses none of its sense of scale, the extended instrumental section unfolding with impressive confidence whilst the interplay between Scott and Cory ensures that every twist and turn remains engaging. The performance captures both the song's scale and elegance, whilst the vocal harmonies retain all of their original grandeur. For me, it is Sweet at their creative peak.

Complete with an irresistible chorus and a stomping rhythmic drive, Fox On The Run brings the main set to a close. The audience response leaves little doubt that the evening is not yet over, however, with cries of “We want Sweet” echoing until the band return to deliver a pair of classics. Opening with its distinctive air-raid siren effect, Blockbuster has lost none of its impact. The thundering drums, razor-sharp riff and relentless momentum ensure it remains one of the definitive glam rock singles.

With the setlist now approaching its conclusion, there is really only one song capable of bringing proceedings to a close. Ballroom Blitz, with its stop-start dynamics and unforgettable chorus, ensures the album ends on an undeniable high. More importantly, the recording captures the song's sheer exuberance without sacrificing clarity.

As the Sweet Jane outro tape plays, it is impossible not to reflect upon both the warmth of the audience response and the significance of Andy Scott's return following his cancer treatment. More importantly, Live 25 succeeds as a live album because it captures Sweet as they are today rather than relying solely upon nostalgia. The production consistently strikes the right balance between atmosphere and definition, whilst the performances retain the vitality that has sustained the band for so long. Beneath the hooks, harmonies and platform boots lay a formidable rock outfit, and Live 25 provides ample evidence that those strengths remain firmly intact. For longtime fans and newcomers alike, it stands as both a celebration of an enduring catalogue and a persuasive reminder of why these songs continue to resonate.

Live 25 is released on 23rd October 2026

Sweet online

Website

Facebook

Instagram

Spotify

YouTube