Skrillex Setlist 2026 — Songs, Order & Running Time

Skrillex 2026 Tour Setlist Structure

Skrillex, the American dubstep act, has no confirmed dates on sale right now, so the song order below reflects how dubstep headline sets of this size are typically paced.

Recent Skrillex concerts have averaged between 18 and 24 songs spread across roughly 90 to 120 minutes of performance time (excluding opener). The shows typically follow this rough structure:

1. Opener (song 1 to 2). A high-energy hit to set the tone.
2. Hit block (song 3 to 7). A run of the most-streamed singles.
3. Acoustic / storytelling moment (song 8 to 10). Stripped-back arrangements and banter.
4. Deep-cut set (song 11 to 15). Fan favorites and newer album tracks.
5. Peak run (song 16 to 20). The dancefloor anthems and biggest singalongs.
6. Encore (song 21 to 24). A 2 to 3 song encore featuring the signature closer.

Does the Skrillex Setlist Change Night to Night?

The core of the Skrillex 2026 setlist — the singles and the staging — stays consistent across the tour so production cues work from night to night. Smaller changes (a deep cut swap, a city-specific cover, or an acoustic surprise) happen on some nights. For the exact setlist from a specific Skrillex show, check fan-submitted setlists on Setlist.fm after the concert.

Skrillex Setlist — FAQ

About Skrillex

Sonny John Moore was born in Northeast Los Angeles in January 1988 and spent his early teens between Northern and Southern California after his family moved in and out of the Bay Area. He joined the Southern California post-hardcore band From First to Last as lead vocalist at fifteen, in 2004, and recorded two albums with the group — Dear Diary, My Teen Angst Has a Body Count in 2004 and Heroine in 2006 — before vocal-cord problems forced him out of the touring role and pushed him toward production. The transition from screamed post-hardcore vocals to a solo electronic project happened in stages. The first Sonny Moore solo material — released as an EP titled Gypsyhook in 2009 — was still rooted in the rock and electronic-rock lanes; the Skrillex name first appeared on releases in 2010, attached to the My Name Is Skrillex EP and then, decisively, to Scary Monsters and Nice Sprites later that year. Scary Monsters and Nice Sprites was released through mau5trap, the label run by Deadmau5, who had publicly championed Skrillex in the lead-up to the EP, and the title track became one of the most-streamed and most-imitated electronic tracks of the decade. The follow-up EPs — More Monsters and Sprites in mid-2011 and Bangarang at the end of that year — produced First of the Year (Equinox), Kyoto, Bangarang, Breakn' a Sweat (with the Doors) and a chain of tracks that codified what mainstream press, and a generation of newer fans, came to think of as the Skrillex sound. The first OWSLA-era proper LP, Recess, arrived in 2014 and contained Recess, Stranger, Doompy Poomp and a roster of collaborators including Diplo, Chance the Rapper, KillaGraham and Niki & the Dove. The label itself, OWSLA, was founded in 2011 and within five years had signed and released material from Porter Robinson (Worlds-era Porter), Zedd (early Clarity-era Zedd), Jack U with Diplo, Kill the Noise, Mija, Whethan, Jai Wolf, What So Not, Hundred Waters, Marshmello (some early material), and the wider mosaic of producers that came up in the post-2012 American electronic boom. OWSLA's Nest sub-label, founded in 2013, ran a separate aesthetic catalogue of more experimental electronic music. The Jack U collaboration with Diplo, formed publicly in 2014, produced one full-length album in 2015 that included Where Are U Now with Justin Bieber and Take U There with Kiesza, and the duo won the 2016 Grammy for Best Dance/Electronic Album. The Justin Bieber production credits — Sorry, Where Are U Now and other cuts from Bieber's 2015 Purpose album, produced alongside Bieber, Diplo and Blood Diamonds (Michael Tucker) — moved Skrillex decisively into the mainstream pop-production conversation and demonstrated that the same producer who wrote First of the Year (Equinox) could write a global No. 1 pop single. The Dog Blood collaboration with Boys Noize (German producer Alexander Ridha) operates as a separate touring and recording project that leans into a more aggressive electro, techno and acid-house palette than the main Skrillex project; the duo has released EPs since 2012 including the 2023 Turn Off the Lights project. After the 2014 Recess release, the main Skrillex project went quiet on the album front for nearly a decade. The twin albums Quest for Fire and Don't Get Too Close, released a day apart in February 2023, re-introduced the project with what critics treated as a deliberate two-album statement. Quest for Fire took the club-leaning, festival-bass and global-club material — collaborations with Fred again.., Four Tet, Flowdan, Beam, Missy Elliott, Mr. Oizo, Aluna, Posij, Boys Noize, BibiBabydoll and others — and Don't Get Too Close took the more vocal-forward, pop-leaning collaborations including Bibi Bourelly, Bobby Raps, Porter Robinson, Hamdi, Justin Bieber (Don't Go), Yung Lean and a roster of indie and hip-hop collaborators. The double-album release was timed alongside a return-to-touring run that included multi-night Madison Square Garden dates, a Coachella appearance and a stretch of warehouse-format pop-up shows tied to the album's collaborators. Off the road, Skrillex is based largely in Los Angeles, has been a vocal supporter of independent producers on OWSLA and adjacent labels, and has played a recurring producer-and-mentor role in the LA-based electronic scene that grew up around his releases — running the long-running NEST HQ programming, producing for and collaborating with a long list of younger artists including Fred again.., Four Tet, KAYTRANADA, Yung Lean and Porter Robinson, and continuing to surface as a producer credit on chart-relevant pop, hip-hop and electronic releases. The persona on stage and in interviews has stayed deliberately unflashy by EDM standards — long hair, dark T-shirts, a DJ booth at the front of an LED-and-laser production rig, minimal stage banter and an emphasis on the music and the visual programming rather than on the showmanship of the headliner himself. That restraint, combined with the willingness to keep evolving the sound across the past fifteen years, is the most plausible single explanation for how the producer who became synonymous with a 2011 sub-genre is still headlining major festivals in 2026.

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