Cloud Nothings Setlist

Pattern Walks
I’d Get Along
Modern Act
No Thoughts
So Right So Clean
No Sentiment
Mouse Policy
Running Through the Campus
I’m Not Part of Me
A Longer Moon
No Future/No Past
Wasted Days

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■ Cloud Nothings
Cloud Nothings is an American indie rock band from Cleveland, Ohio, United States, founded by singer-songwriter Dylan Baldi. It currently consists of lead singer and guitarist Dylan Baldi, drummer Jayson Gerycz, and bassist Chris Brown.

Getting a tour started must be a tremendous amount of work and logistics, from securing venues to packing all of the equipment, to the crazy travel schedule. One of those items is where to start your tour, and you can imagine there are certain cities that get that distinction for being ideal logistically. Maybe you start in New York, so that you have a bunch of short travel at the front of the tour as you work down the east coast. Maybe it’s Nashville, to up your chances of good weather. In my experience, the while the Twin Cities are not a common starting point, April & May sometimes get you the kickoff. And it was exactly that, as indie noisemakers Cloud Nothings got their 2026 tour started at the Turf Club in Saint Paul.

Censer was first up, and the Minneapolis based band is extremely new to the scene. Made up of members from a number of other bands, they have a three track Censer demo tape on Bandcamp and that appears to be about it. It’s been a while since I’ve been this unprepared for a band, but what I had heard suggested a solid indie rock that would vibe well with the headliners. And that was exactly right, as the quintet (vocals, guitar, guitar, bass, and drums) had a jangly edge, with smokier alto vocals and pulsating drums. The dual guitar work, as they flanked the edges of the stage, was crushing in the second number, while the next one gave our bass player a central point. I always appreciate drummers who only have the mission to rock and that was abundant with Censer’s songs. A fun guitar intro was also a reminder that the band was moving along quickly, but these felt like right sized song lengths. We had essentially no banter outside of thanking venue and headliner, but that didn’t make the band dull, just very businesslike between numbers. More pedal work gave the reverb to contrast the vocals and it was a noisy affair while still maintaining a cohesiveness. They doubled down on that quick paced guitar work for their last song and perhaps the most dynamic bass work of the set and Censer had definitely made an impression.

I spoke with lead singer Taylor between sets and after confirming their newness (“we got our Instagram account set up yesterday!”), I asked how the band came together. Taylor has just re-located back in the Twin Cities and ran into the others and they were all a little down, as many have been in bands, but weren’t super active. They decided to start the band and have been working it since, writing and playing. They did a small run of three shows and this was the newest one. It will be fun to see where Censer goes from here and we will be watching for them.

Cloud Nothings came to stage and the Cleveland, Ohio band was the expected trio (vocals/guitar, bass, and drums). They came out blasting and never really took their foot off the gas. Initially, you are caught in the embrace of the noise and near dissonance, but listen a little closer and the band was putting on a clinic. I don’t have the vocabulary to accurately describe the full complexity of Jayson Gerycz’s drums or understand how band founder Dylan Baldi’s pure shred on guitar can still leave room for him to sing. And Chris Brown’s bass is playing at speeds that most would envy. The opener Pattern Walks was a sonic assault in the best possible way, and was a killer way to kick off a tour. Baldi was in full screamo mode, which was perfect for the pure energy coming from the band. Modern Act had Cloud Nothings in their element, with all the instrumentation in perfect noisy support of the vocals (“when you feel like an ocean, coming out of a creek”). It was easy to focus on any of the trio and just watch the skill pour out. The quickest of band intros and it was back to the music, with Baldi on rapid fire guitar for No Thoughts. There are few bands playing up to the line of chaos while completely directing it like Cloud Nothings, and the live show was a near masterpiece. The alternating slow down and speed up in So Right So Clean was both hypnotic and exceedingly complex. Again, I felt out of my depth in how to explain this and I feel a music theory major would be needed to do it justice.

I kept finding myself drawn to Gerycz on drums. Partly because he was the one in good light (dear reader, it was a dark lighting scheme), but also because the depth of the music was often revealed in subtle changes he made throughout songs. Mouse Policy had Baldi nearly shaking at one point as he was playing so fast. I’m Not Part of Me had great bass work and continued to highlight the technical skill of the band. The term “all killer, no filler” gets thrown around a lot, but it absolutely applied here. No Future/No Past was the slowest tempo song of the set with great guitar from Baldi, and that repeated “give up” lyric was the central focus of the darker song. Closing on Wasted Days, Cloud Nothings finished in an efficient hour of playing. Dear reader, it may have been the most blissful hour of music that I have experienced in 2026. If you can find Cloud Nothings on their 2026 tour, I must highly recommend that you seek it out, as this was a top notch live music experience.