Mick Stewart’s career traces a fascinating path through the shifting landscape of British rock in the 1960s and beyond, beginning with his recruitment into the New Pirates in April 1966. His arrival came after bassist Nick Simper was alerted by organist Ray Soaper, who was then performing with Johnny Kidd. At the time, Kidd had recently parted ways with an earlier version of the Pirates and was in the process of assembling a new backing group. With the addition of drummer Roger Truth (born Roger Pinner), the New Pirates were formed.
Like previous incarnations of the Pirates, the band developed a structured live show. Stewart would typically take the spotlight early in the performance, singing several numbers before Kidd’s dramatic entrance, which signaled the start of the main set. This format maintained the theatrical energy that had long defined Kidd’s performances.
Tragedy struck on the night of 7 October 1966, when Johnny Kidd was killed in a car accident while returning from a cancelled gig. The band had arrived late to the venue, leading to the show’s cancellation, and the loss of Kidd brought the New Pirates’ momentum to an abrupt halt. In the aftermath, the group was temporarily disbanded.
In the months that followed, Stewart and Roger Truth joined forces with former Pirates members Johnny Spence and Vic Cooper for a unique opportunity: backing Jerry Lee Lewis during his UK tour. This arrangement, sanctioned by the British Musicians’ Union, allowed Lewis to bring his own band from the United States on the condition that British musicians were available to step in if needed. Although this ad hoc “Pirates” lineup was contracted and paid for the duration of the tour, circumstances meant they never actually performed on stage together.
Meanwhile, Nick Simper—who had suffered a serious arm injury in the crash that killed Kidd—recovered within a couple of months. The New Pirates regrouped and returned to live performance, though their lineup shifted when Roger Truth departed to join the Freddie Mack Band. He was replaced by drummer John Kerrison. Despite their efforts, the group struggled to secure consistent bookings, and by May 1967, the New Pirates disbanded for good.
Stewart’s career soon took a new turn. In 1969, he joined an early lineup of The Sweet, replacing guitarist Frank Torpey. At the time, the band had yet to achieve the fame that would later define them. Signed to Parlophone, this pre-glam incarnation of the Sweet released three singles: “Lollipop Man” in September 1969, “All You’ll Ever Get From Me” in January 1970, and a cover of “Get On The Line” in June 1970. Stewart contributed to the B-sides of two of these releases. Despite solid craftsmanship, none of the singles charted, and Stewart departed the group shortly thereafter.
He was replaced by Andy Scott, whose arrival marked a turning point. With Scott in the lineup, the Sweet went on to achieve major success as one of the defining acts of the glam rock era in the early 1970s. The band’s earlier Parlophone recordings, including Stewart’s contributions, were later compiled on one side of the EMI “Music for Pleasure” album Gimme Dat Ding. The reverse side featured tracks by the Pipkins, a studio project led by songwriter Roger Greenaway in collaboration with Tony Burrows, known for his work with the Ivy League and Edison Lighthouse.
By the late 1970s, Stewart stepped away from performing as a guitarist and relocated to the United States. Transitioning into the business side of music, he established himself in record production and publishing. Based in Malibu, California, he runs his own production company and music publishing operation. He also spends part of his time in Nashville, where he continues to write songs and occasionally participates in recording projects—maintaining a quiet but enduring presence in the industry he first entered during the vibrant British rock scene of the 1960s.