FISHER Live Tour 2026

Inside FISHER

Fisher is one of the rare modern dance acts whose breakthrough is genuinely traceable to a single moment. He arrived as a touring DJ in the late 2010s after a previous career as a professional surfer on the World Qualifying Series, signed to Catch & Release, the Anjunadeep- and Confession-adjacent tech-house imprint that Fisher himself co-founded, and in 2018 released Losing It — a stripped-back, tension-and-release tech-house record built around a single repeated vocal phrase, a piano stab and a high-frequency synth line that ratchets up across the breakdown — which broke globally inside a few months of release, charted in multiple countries, picked up a Grammy nomination for Best Dance Recording, and became the unavoidable festival record of the 2018 and 2019 European and North American festival seasons.

The Coachella mainstage appearance during the 2019 Coachella weekends in Indio, where he played Losing It in the headline-adjacent slot to a packed Mojave tent and a peak-time crowd that knew the record before he played it, is the moment most commonly cited as the breakthrough — the festival-circuit cosign that took Fisher from "scene-famous tech-house producer with one viral record" to mainstream headline territory. The career since Losing It has been built on a small, deliberate roster of singles rather than on full-length album releases.

Stop It, released through Dirtybird in 2018, was the first record that established the formula. You Little Beauty, released in 2019 with the same tension-and-release tech-house template, became a second festival anthem.

Atmosphere, released in 2020 under the longer-form Stripped-Down EP cycle, expanded the template into a more melodic and progressive direction. Subsequent releases — Just Feels Tight, World's On Fire, Take It Off, Yeah The Girls, Sip & Sleaze with Aatig — have continued the same approach: small-batch single releases, festival-edit-ready arrangements, vocal phrases or stabs deliberately positioned to land on the drop, and a deliberate refusal to release a full-length artist album.

Live, Fisher in 2026 is in an unusual position relative to the rest of the festival headline tier. He plays primarily as a solo DJ rather than as a producer running an audio-visual show — the production rig on his shows is comparatively understated for the tech-house tier, with the focus on the music and the room rather than on cinematic LED installations or laser walls — and the show carries the personality of the artist himself in a way that the more anonymous tech-house and bass headline tier does not match.

The Australian surfer-turned-DJ origin story is part of the brand, the stage presence is famously loose and high-energy, and the recurring "FISHER" mainstage interludes — extended breakdowns with vocal samples and live mic work — are the most-quoted moments from a given show. He runs Catch & Release, headlines EDC Las Vegas mainstage and the EDC variants in Mexico and Orlando, plays Coachella and Tomorrowland regularly, holds intermittent Las Vegas residency dates and a touring practice that emphasizes the festival circuit and the warehouse-and-club format over the arena-tour template that most headline EDM acts default to.

The rest of this page is built around the actual show, the catalogue and what to expect when buying tickets.

About FISHER

Paul Nicholas Fisher was born in Sydney in November 1985 and grew up on the New South Wales coast. The first career was professional surfing.

Fisher competed on the World Qualifying Series in the late 2000s and early 2010s, was sponsored across the standard Australian surf-brand circuit, and reached the QS without ever cracking the World Championship Tour. The pivot to dance music began in the late 2010s as the surfing career wound down, and was rooted in the wider Australian house-and-techno scene that had been quietly building infrastructure across the previous decade — including the Melbourne and Sydney club rooms that have produced Anna Lunoe, Hayden James, Flight Facilities, Cosmo's Midnight, RÜFÜS DU SOL and a broader Australian dance-music export that has translated unusually well to the North American and European markets.

The first Fisher releases — small-batch tech-house records released through Dirtybird, Catch & Release and adjacent imprints across 2017 and 2018 — established the template before Losing It made it commercially visible. Stop It, released through Dirtybird in early 2018, was the first record that established the tension-and-release arrangement template that would become the Fisher signature: a stripped-back groove holding a single repeated vocal phrase or sample across a long breakdown, a synth or piano stab marking the build, and a deliberately ratcheting drop that lands with the released vocal hook as the payoff.

Losing It, released later in 2018, applied the same template to a peak-time festival-ready record and broke globally inside a few months of release. The record was nominated for Best Dance Recording at the 61st Grammy Awards in 2019, lost to Silk City and Dua Lipa's Electricity, and would have been the festival record of the 2018 and 2019 European and North American seasons regardless of the Grammy outcome.

The Coachella mainstage appearance during the 2019 Coachella weekends in Indio, where he played Losing It in the headline-adjacent slot to a packed Mojave tent and a peak-time crowd that knew the record before he played it, is the moment most commonly cited as the festival-circuit breakthrough — the cosign that took Fisher from a scene-famous tech-house producer with one viral record to mainstream headline territory. You Little Beauty, released in 2019, became the second festival anthem and applied the same arrangement template — a stripped-back tech-house groove holding the title phrase as the vocal hook across the breakdown, a synth stab marking the build, and the released vocal landing on the drop.

Atmosphere, released as part of the Stripped Down EP cycle in 2020 alongside Just Feels Tight and other cuts, expanded the template into a more melodic and progressive-house direction without abandoning the tension-and-release arrangement spine. Subsequent releases — World's On Fire, Take It Off, Yeah The Girls, Wait A Minute, Take Me Down, Sip & Sleaze with Aatig, and the more recent collaborations with Chris Lake (Take It Off is the most-cited of these), Vintage Culture, MK and other tech-house and house-leaning collaborators — have continued the same approach: small-batch single releases, festival-edit-ready arrangements, vocal phrases or stabs deliberately positioned to land on the drop, and a deliberate refusal to release a full-length artist album.

Catch & Release, the label that Fisher co-founded and which has released the bulk of his solo material alongside select catalogue from a small roster of collaborators, operates on a deliberately small-roster model — releases are infrequent, the label brand is heavily tied to Fisher's own touring footprint, and the Catch & Release showcases at Amsterdam Dance Event, Miami Music Week and selected festival routings have become the most reliable single concentration of Fisher-related programming in any calendar year. Off the road, Fisher is based primarily between Australia and Los Angeles, has been a vocal supporter of the broader Australian dance-music export, and surfaces in surf-and-skate brand programming and in occasional Australian sports-tie-in appearances that other tech-house DJs do not pursue.

The persona on stage is the loudest part of the brand. Fisher works the mic during his sets in a way most tech-house DJs do not — calling out drops, working call-and-response moments with the crowd, occasionally interrupting the mix to talk over a record, and treating the booth as a performance position rather than a behind-the-scenes mixing station.

The on-mic personality, combined with the tension-and-release arrangement template on the records, is the most plausible single explanation for how an Australian tech-house DJ with no full-length album catalogue has become a recurring festival mainstage headliner across the past five years.

Fisher tour: festivals, warehouses and the Catch & Release showcases

A typical Fisher touring year has three layered formats rather than a single linear tour. The first layer is the global festival circuit.

Fisher holds recurring mainstage headline bookings at EDC Las Vegas at Las Vegas Motor Speedway each May — across kineticFIELD and the wider Insomniac mainstage rotation — at EDC Mexico, EDC Orlando, EDC Korea, Tomorrowland in Belgium each July, Ultra Music Festival in Miami each March, Coachella in Indio across two April weekends in the years he has been booked, Lollapalooza in Chicago, Creamfields in the UK, Parklife in Manchester, and a long list of country-specific dance festivals across Europe, Asia, Latin America and Oceania. The Australian festival circuit has been a recurring touchpoint — Beyond the Valley, Field Day Sydney, the New Year's-week Australian dance festival programming and the wider Australian summer touring window — and the European festival circuit has expanded across the past several years to include Awakenings in the Netherlands, Sónar in Barcelona on occasional appearances, and the wider Continental tech-house festival roster.

Festival headline slots typically run 60 to 90 minutes. The second layer is the warehouse, club and theater format, which is where the Fisher touring practice differs most clearly from the rest of the festival headline tier.

Rather than booking arenas at 15,000-plus capacity, Fisher's headline routings have focused on warehouse and club rooms in the 2,000-to-8,000 capacity range — Brooklyn Mirage outdoors in New York during the warehouse season, Drumsheds in London on post-Printworks era warehouse dates, the Hollywood Palladium and the Shrine Expo Hall in Los Angeles, Echo Beach and the History venue in Toronto, the Australian club-and-warehouse rooms in Sydney and Melbourne, and similar rooms in the Continental European and South American routings. The warehouse-and-club format produces longer sets (two-plus hours), allows for the deeper tech-house and Catch & Release catalogue material to land properly, and produces a different show than the festival mainstage format.

The third layer is the Catch & Release showcases — label nights at Amsterdam Dance Event each October, Miami Music Week each March, the occasional Catch & Release programming at the larger warehouse rooms in Los Angeles, New York and London, and the festival-tied Catch & Release stages that have appeared on Insomniac-produced festival lineups across recent editions. The Catch & Release showcases are the most reliable single concentration of Fisher-related programming in any calendar year and tend to feature longer Fisher sets, b2b appearances with the smaller Catch & Release roster, and the most catalogue-aware setlists of the touring cycle.

Las Vegas residency dates are intermittent and sit primarily around EDC week, New Year's Eve and the major US holiday weekends rather than on a fixed weekly residency calendar — Fisher has held Strip residency dates at Tao Group, Hakkasan-era and Wynn Nightlife properties at different points across the past five years.

Fisher tickets: pricing, presales and the warehouse window

Fisher tickets vary widely by format. Festival appearances are priced as part of the festival's day or weekend pass rather than as a Fisher-specific ticket, so the cost depends on EDC, Tomorrowland, Coachella, Ultra or whichever event he is headlining rather than on the artist directly.

EDC Las Vegas three-day passes have run $400 to $650 depending on tier and onsale timing; Tomorrowland Global Journey packages and standalone weekend passes vary widely by year; Coachella weekend passes have run roughly $549 for general admission and into the four-figure range for VIP across recent years. Warehouse and theater-format headline tour tickets generally open between $55 and $95 for general admission, $125 to $200 for the pit-access or front-of-stage tiers when those are offered, and $250 to $500 for the VIP packages that have appeared on past Fisher routings — those packages have typically bundled early entry, a dedicated viewing area, a branded merch item and occasionally a soundcheck listen-in rather than a guaranteed meet-and-greet.

Brooklyn Mirage outdoor dates and the Avant Gardner warehouse complex run on the standard NYC warehouse pricing of roughly $75 to $150 for general admission and $200-plus for elevated tiers when offered. Drumsheds in London, the Hollywood Palladium in LA and Echo Beach in Toronto run on similar warehouse-and-theater pricing scales.

Las Vegas residency nights and Strip nightclub appearances are priced through the venue rather than through a tour promoter — cover charges typically run from around $50 for women and $75 for men at the door on a standard night, climbing to $150-plus for big-weekend nights like EDC week, New Year's Eve, Memorial Day and Labor Day. Table service, which is the dominant economic model for Vegas nightclubs, runs from a roughly $1,500 to $2,500 minimum spend for a standard table on a non-peak weekend up to five-figure minimums for prime locations on event weekends.

Presales for the routed warehouse and theater tour follow the standard touring template — Catch & Release fan-list presale, then venue and Live Nation presales midweek, then general onsale on Friday at 10am local time. Verified resale through Ticketmaster gives the cleanest transfer for the theater-and-arena venues; for warehouse and club dates, resale is heavily moderated by the venue and the secondary market is correspondingly thin.

DICE handles a meaningful share of the European warehouse and club routings.

Fisher setlist trends

A modern Fisher setlist is structured as a continuous tech-house DJ mix rather than as a list of discrete songs, and the published setlist trackers (1001Tracklists, Setlist.fm) capture a different level of detail depending on whether the show was a festival mainstage slot, a warehouse-and-theater date or a Catch & Release showcase. The shape of the set has been broadly consistent for the past several cycles.

Opening sections lean on current tech-house material from the Catch & Release roster and from adjacent imprints — Hot Creations, Cuttin' Headz, Repopulate Mars, Solotoko, Diynamic, Confession — sequenced against Fisher's own back catalogue cuts in the deeper tech-house lane (Just Feels Tight, World's On Fire, Take It Off with Chris Lake, Wait A Minute, the Stripped Down EP material). The middle of the set climbs through the harder festival material, including remixes and ID tracks that have not yet been released, with the tension-and-release arrangement template providing the structural spine — long breakdowns holding the vocal hook across multiple bars before the drop releases.

The closing section typically lands on Losing It or You Little Beauty as a peak-time anthem, frequently extended with festival-edit reworks and on-mic call-and-response moments rather than playing the original version straight through. Atmosphere appears most commonly in the middle of the set rather than at the close, sequenced as a more melodic moment between the peak-time tension-and-release records.

Recent shows have produced guest appearances and b2b moments with Chris Lake, MK, Vintage Culture and the smaller Catch & Release roster when the routing puts them in the same city as Fisher, and those b2b moments are usually the most-shared clips from a given date. Festival sets are tighter than warehouse sets — 60 to 90 minutes versus 100 to 150 minutes — and lean more heavily on Losing It, You Little Beauty and the recognizable peak-time material with less of the deeper Catch & Release catalogue.

Warehouse and Catch & Release showcase sets are longer (two to three hours) and look more like a traditional tech-house club mix with deeper edits, longer transitions and more unreleased material than the festival format. ID-spotting culture is highly active around Fisher sets — the producer is known for previewing unreleased material live months before official release, and 1001Tracklists tracklists from major Fisher dates are usually online within a day of the show ending.

Fisher meet and greet: what is actually available

Formal meet-and-greet packages are uncommon for Fisher and uncommon for headline DJs generally. He does not run a Cid Entertainment or Future Beat-style paid VIP meet-and-greet on the standard touring-rock or touring-pop model, and the VIP packages that have appeared on past Fisher routings have typically bundled pit access, early entry, a soundcheck listen-in (when production allows), an autographed item and a branded merch bundle — but rarely a guaranteed photo with Fisher himself.

The most realistic path to interacting with him is through the Catch & Release ecosystem rather than through a paid package. The Catch & Release fan-list ecosystem, the label-night showcases at Amsterdam Dance Event and Miami Music Week, and the smaller-room Catch & Release programming at LA, New York and London warehouse rooms produce semi-regular opportunities for casual interactions — fans who consistently show up to Catch & Release-affiliated nights have built recurring informal relationships with Fisher over the years, and that long-tail community presence is the most credible path to meeting him outside of a chance backstage encounter at a festival.

The on-mic, crowd-work-heavy Fisher live performance style also makes the standalone shows feel more conversationally connected to the audience than the more anonymous tech-house and bass headline tier, even if those moments are not formal meet-and-greet opportunities. Festival contexts — EDC, Tomorrowland, Coachella, Ultra — produce occasional informal interactions in the backstage and artist-lounge areas for guests with the appropriate credentials, but those credentials are not something you can buy through a public channel.

If a third-party site is selling a Fisher meet-and-greet package outside of the official tour VIP bundle, treat the offer with skepticism.

Tour cities