Rifffest, the annual Brooders brainchild, is one of the first day-long events Belgrave Music Hall & Canteen lays on in the year, and it consistently draws out music-starved rock fans. 2025’s instalment was opened mid-afternoon by Rat Pakk, followed by Heavy Lungs and Clitspit, who’d performed at one of Super Friendz’s Dark Arts warm-up shows just recently. 

But I rocked up in time for Hang Linton’s set. A name you may notice from prior RW new release roundups. At this point, the room had swelled with pockets of dispersed groups, but it wasn’t yet full. Those who’d turned out were compelled to get right up at the front for a good boogie the minute Hang kicked off. 

It takes a special calibre of artist to engage with people so well that they can get you howling like a hound at 5:45pm on a Saturday — Hang Linton was that artist. Having cut his teeth career-wise in Berlin, the Leeds-hailing purveyor of avant-funk/dance-punk was commanding. His pro-meets-DIY setup saw him seize just the mic and a guitar (and a harmonica during one tune) without a live band, but the thumping amps handled the electronics expertly. His lyrics traversed everything from global events to tongue-in-cheek nods to Fergie’s ‘Glamorous’, and his quirky use of dance encouraged everyone to match his energy. ‘Radiator’ was an obvious hit — as was ‘Mad Dogs’ — and we also got a preview of a new bop. 

Fossick were up next. In a live format, they’re a five-piece comprising a fair few former members of Dim Imagery. Though I’ve learned while typing that it was actually the new project of Charlie Fossick himself. Either way, it’s probably obvious that these guys were razor-sharp and well-rehearsed, given how ultra-tight they always were in their previous band dynamic. 

They supplied more traditionally ‘riffy’ pieces; their blistering bass and cinematic six-strings transformed them into masters of the atmospheric transitions. The supporting SPD gave it a really electronic feel as well, which presented a nice complementing tie to what I’d witnessed from Hang Linton. Team all that with a darkly haunting vibe, some ongoing distortions, roared vocals and jaunty guitars, and that summed up their house style. It was a performance from talented individuals who work well as a group, and understand how to engineer a display to behold. 

Seeing Brooders themselves tends to be a yearly treat; like Halloween but minus the tricks. Naturally, I’ve caught the Rifffest organisers (shout-out to Adam*) on a good few occasions before, and they never fail to put on a cracking set. This year, they were sixth on the billing; the magic number of how many Rifffests they’ve pulled off now, too. Impressive stuff — and the demand for it, from the crowd size, had grown again. 

They delivered a medley of dystopian electronics throughout their own songs, though they upped the ante in superbly synthy fashion when they wheeled out a couple of reimagined covers. My favourite? Pet Shop Boys’ ‘West End Girls’. Their style and sound breathed life on this old classic, and the bodies in the room were putty Brooders’ hands. Talk about crowd-pleasers. What’s more, their drummer had also just got up and played for Fossick — beast mode.

Being at Belgrave doubles as a great opportunity to hit Dough Boys between bands for a slice or two of the goods. Is there any better way to refuel than with pizza? Nope, I didn’t think so either…

Eyesore & The Jinx were on in the penultimate slot, but then came the massive score and main event we’d all been waiting for: Pulled Apart By Horses. After headlining last year’s Noise In The Valley festival in Sowerby Bridge (big up The Tall Trees), getting them top of the Rifffest billing was a huge coup for Brooders, Super Friendz and the Leeds gig circuit. 

It’s worth reminding you here that these guys have an eye-wateringly cool CV. They signed to Transgressive Records in 2009, their second album was recorded with producer Gil Norton (who’s worked with Foo Fighters, Counting Crows, Bayside and so on), and they’ve supported major outfits including Muse. ’Scuse my French, but to put it bluntly, they’ve done fucking colossal stuff. I chatted to their guitarist Rob (also of Scouge) a few months ago about more of their history, but I’d never had the pleasure of watching PABH live before. So this was a real early-birthday win. 

Before they started, there was a sense of palpable, agonising anticipation as onlookers clutched pints, watching Rob and the rest of the band wire instruments up and soundcheck. Then it quickly became wild. Like liquid, frontman Tom was throwing himself around onstage and down in the crowd, having a quick mosh, and uncontrollably head-banging. This was proper rock ‘n’ roll from serious professionals who’ve stayed magnificently humble. But you can bet it made them hard to photograph with just an iPhone! So you’ll have to take my word for it — their set was fire. Opening with the impossibly slick ‘The Big What If’, not a soul was unstirred. ‘Rinse and Repeat’, ‘I Punched a Lion in the Throat’ and ‘High Five, Swan Dive, Nose Dive’ riled us all up further and were just monstrously good. With the heavy shredding, booming bass strings and thunderous drums alongside those course, shrieked vocals, every member of PABH vied for your attention and it made them such a collective joy to watch. 

Their set zoomed by and, before I knew it, an encore was begged of them and the guys gladly returned with some “’party time, excellent’ covers”. I could’ve watched them for longer, too — and I bet you all the other fans there would’ve concurred. Just wow. I’d keep your eyes and ears firmly locked on what they do next.

*With thanks to Adam of Brooders for the press access.