There’s something shifting in Tigercub.
Signed to Loosegroove Records, the Seattle-based label owned by Stone Gossard, the Brighton trio are stepping into their fourth album era with a clarity that feels earned.
Nets To Catch The Wind, out April 10, 2026, isn’t just another release. It’s the dawn after The Perfume of Decay’s midnight confession. Where that record lived in anxiety and noise, this one exists in the fragile light between dreaming and waking.
Produced by Tom Dalgety and recorded in just nine days at Rockfield Studios - the same Welsh rooms that shaped records by Queen and Oasis - the album captures Tigercub at their most cinematic and unrestrained. Core takes tracked live. Chemistry intact. Chaos channelled into something transcendent.
The anticipation has been feral. Fans hacked the band’s website pre-sale and shifted 120 vinyl copies before the album had even been announced. Not hype. Hunger.
We spoke to Jamie Hall about coming home after tour, running in silence, recording in the same space that birthed Definitely Maybe, and why this chapter feels less like survival and more like acceptance.
When you finally get home after tour, what’s the first thing you do that makes you feel properly grounded again?
I go straight to bed and do nothing for as long as I can. Tour is a constant whirlwind, you’re never in one place for more than a day, so I really crave the opposite. Staying in the same spot, not unpacking a bag, not having to move. It definitely frustrates friends and family because they want to see me, but I tend to become a bit of a hermit until things settle.
How would you describe the atmosphere of your home space when you’re writing or decompressing? Is it chaotic or somewhere in between?
My life is generally very busy and chaotic, so I look for calm wherever I can. Running helps a lot. I run without music, which lets my thoughts spill out and reset, and that’s often where ideas start forming. Creatively, I work best at night when everything is quiet and I can focus for long stretches without interruption.
You’ve described Nets To Catch The Wind as the dawn after the darkness of the last record. What does that shift look like in everyday life, not just in the music?
The album reflects a mental and spiritual journey I’ve been on. For the first time in a long while, I feel like I’ve reached some kind of resolution with things that were weighing me down. They’re not completely fixed, but there’s acceptance and closure, and that’s really what the record is about. That mindset has definitely carried into my day to day life.
Do you have any objects, rituals or routines at home that quietly shape how you write or think creatively?
When I feel a creative phase starting, I tend to immerse myself in other forms of media rather than music. Reading and watching films feeds a lot of ideas for me. Lately, I’ve also gone back to playing acoustic guitar late at night and recording voice memos, which has been a really productive way of working.
Rockfield has so much history. When you were recording there, did the space itself influence how the record came together?
Massively. It was our first time making an album outside of Bright Electric Studios, and it was an honour to be part of Rockfield’s history. Being in a place where so many important records were made was incredibly inspiring. The room ambience in the Coach House felt strangely familiar, like something I’d heard on records for years, and that pushed us to step up while we were recording. The timing was also surreal. The Oasis reunion shows were happening nearby, and Definitely Maybe was made in the exact space we were working in. Nick Brine popped in at one point, and around the same time Ozzy Osbourne played his final show. It all made the experience feel really special.
When you’re on the road, what do you carry with you to make hotel rooms or tour buses feel more like home?
I don’t really try to make things feel like home because that just makes me more homesick. I tend to accept hotel rooms for what they are, somewhere to sleep. What helps more is routine and discipline. We run a lot, exercise, use the gym, and keep simple habits like regular coffee runs. That structure keeps me grounded.
Your fans hacked the pre-sale before the album was even announced. How did that moment land with you emotionally?
It was incredibly exciting. We honestly couldn’t believe how quickly people cracked the code on the website and then sold out the secret pre-sale in under six hours. It was overwhelming in the best way, and it reminded us how special our fanbase really is.
If Nets To Catch The Wind had a physical home or room, what would it look and feel like?
A dark bedroom with the first light of dawn creeping through the window. Quiet and still, but with a slightly unsettling presence in the room.
With such a cinematic record, where do you personally feel most inspired?
I feel most inspired when I’m walking or running. It’s time where I can’t distract myself and I’m forced to sit with my thoughts. The rhythm of movement puts my brain into a flow state, and that’s when ideas tend to surface.
What can fans expect from this next chapter of Tigercub, both on record and when they see you live at KOKO?
I hope fans see us growing and stepping into something bigger. We want to offer something that feels like a genuine step forward from everything we’ve done before. KOKO is a statement for us. It’s about showing that we’re ready for the next level.
For a band who have toured the world, racked up over 47 million streams, and built a reputation on towering riffs and explosive live shows, this doesn’t feel like consolidation.
It feels like expansion.
Nets To Catch The Wind is heavy but lucid. Cinematic but intimate. It bridges darkness and clarity without sanding down the edges.
And when Tigercub headline KOKO on March 26 - their biggest London show to date - it won’t just mark an album cycle.
It marks a level up.
Pre-order Nets To Catch The Wind here.
Watch “I’m Breaking Out” here.
Get tickets for KOKO on March 26 here.
(photos by Andreia Lemos @andreiaartt)
