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Sinners has two music releases, not one: the 22-track original motion-picture song soundtrack and Ludwig Göransson’s separate original score. The song album was released on April 18, 2025, runs about 72 minutes, and includes blues, gospel, Irish folk, rock, hip-hop, and newly written performances. The score was released separately through Sony Classical.
Below is the complete song-by-song guide, including the confirmed scene placements, the songs heard during the credits and post-credits scenes, and the album tracks whose exact standalone film placement has not been reliably established.
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First, know which Sinners music release you mean
Sinners has two complementary releases: a 22-track song soundtrack and a separate original score by Ludwig Göransson. The song soundtrack, issued by Sony Masterworks on April 18, 2025, runs for approximately 72 minutes and mixes Delta blues, gospel, Irish folk, rock, hip-hop, and newly written performances from the cast and guest musicians. Göransson’s instrumental score was released separately through Sony Classical.
That distinction matters because the 22-song album is not a one-to-one list of every musical cue heard in the film. Some tracks are full performances with clear narrative placements; others are alternate recordings, album versions, hybrids of song and score, or songs whose exact standalone scene has not been independently documented. The guide below identifies the known placement of every released song and clearly marks the entries that do not have a dependable scene description.
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“This Little Light of Mine” — Miles Caton, DC6 Singers Collective, and Pleasant Valley Youth Choir of New Orleans
The children’s choir version opens the film as Sammie returns to his father’s church. The song also comes back in later post-credits material, where the story shows young Sammie and the continuation of his musical path. It is one of the film’s clearest musical statements about inheritance and the passing of music between generations.
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“Flames of Fortune” — Ludwig Göransson and Don Toliver
This original soundtrack track belongs to the film’s contemporary, hip-hop-inflected musical world. It is included on the released album, but public scene guides do not provide a dependable standalone description of exactly where the track plays as an individual song. It should not be treated as a confirmed full-length club or narrative performance.
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“Wang Dang Doodle” — Cedric Burnside, Sharde Thomas-Mallory, and Tierinii Jackson
This blues performance is used in the Club Juke musical sequence. Public guides agree on the Club Juke placement, although they differ on how much of the surrounding performance should be attributed to this particular recording.
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“Travelin’” — Miles Caton
Sammie sings this version for Stack during the film. It is not the same recording as Buddy Guy’s “Travelin’,” which appears later during the first post-credits scene.
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“Juke” — Bobby Rush and Miles Caton
Delta Slim and Sammie perform the song at the railway station for the gathered crowd. Stack uses the performance to invite people to Club Juke, making the number both a musical showcase and a recruitment call for the night’s gathering.
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“Séance” — James Blake and Ludwig Göransson
This original song-and-score hybrid is associated with the supernatural and spiritual dimensions of the film. It is part of the song soundtrack while also connecting directly to the musical architecture of Göransson’s separate score, so it is better understood as a boundary-crossing piece than as a conventional standalone pop song.
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“Dangerous” — Hailee Steinfeld
Written and recorded for the film from Mary’s emotional perspective, the song reflects her relationship with Stack and her desire to be together despite the danger surrounding them. It is a confirmed soundtrack release, but public guides do not establish one unambiguous full-song scene for the recording.
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“I Lied to You” — Miles Caton
This is Sammie’s major Club Juke performance. He introduces it as a song written for his father, and the number becomes a central expression of his identity as a blues musician. The screenplay explicitly labels the performance “I LIED TO YOU.” The sequence expands beyond an ordinary club performance into the film’s most ambitious musical montage, connecting Sammie’s playing with musicians and musical traditions across time.
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“Pick Poor Robin Clean” — Jack O’Connell, Lola Kirke, and Peter Dreams
Remmick, Joan, and Bert perform this version outside Club Juke while attempting to gain entry. Their performance establishes the group’s musical presence before the film reveals the more dangerous purpose behind their visit.
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“Can’t Win for Losin’” — Cedric Burnside and Tierinii Jackson
This performance appears as part of the Club Juke sequence. The song and performers are documented on the soundtrack, but available public guides do not provide a sufficiently precise independent description of the exact moment or length of the performance.
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“Old Corn Liquor” — Rhiannon Giddens and Justin Robinson
A period-rooted performance included in the film’s broader musical sequence and on the released soundtrack. Public scene guides identify the song but do not establish a precise timecode or a separate, clearly delineated full-song scene.
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“Will Ye Go, Lassie Go?” — Lola Kirke, Peter Dreams, Brian Dunphy, Darren Holden, and Jack O’Connell
After being denied entry to the club, Remmick, Joan, and Bert sing the song outside. Mary approaches them during this sequence about possibly playing for the patrons, giving the Irish folk number a specific place in the group’s attempt to become part of the Club Juke gathering.
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“Pale, Pale Moon” — Jayme Lawson
Jayme Lawson’s version functions as background music across several scenes. It is one of two recordings of “Pale, Pale Moon” on the soundtrack, and should be distinguished from Brittany Howard’s version later on the album.
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“Rocky Road to Dublin” — Jack O’Connell, Brian Dunphy, and Darren Holden
Remmick sings this song after he has corrupted patrons of the juke joint into vampires. Another scene guide places it during the sequence in which Smoke and Sammie move a body and see Remmick and the others singing and dancing outside. In either description, the song belongs to the film’s unsettling transformation of convivial music into something threatening.
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“In Moonlight” — Jerry Cantrell and Ludwig Göransson
This original performance combines Jerry Cantrell’s rock and blues presence with Göransson’s film-music language. It is a released soundtrack track, but public sources do not provide a stable standalone scene description for it.
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“Travelin’” — Buddy Guy
Buddy Guy’s version plays during the film’s first post-credits scene. This is a separate recording from Miles Caton’s in-film performance of “Travelin’,” not a repeat of the same track.
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“Last Time (I Seen the Sun)” — Alice Smith and Miles Caton
The song is heard as the main narrative concludes, before the principal end credits. Its placement gives the film a reflective musical close before the separate title song takes over the credits.
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“Sinners” — Rod Wave
Rod Wave’s title song plays over the main end credits. It was released ahead of the complete soundtrack album as the film’s title track.
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“Troubled Waters” — OG DAYV and Uncle James
This track is part of the film’s original music program and released soundtrack. Some databases render a related credit as “Troubled Waters / Homesick,” but the soundtrack listing and public guides identify “Troubled Waters” as the relevant title.
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“Pale, Pale Moon” — Brittany Howard
This is a second recording of “Pale, Pale Moon,” distinct from Jayme Lawson’s version. It appears on the released album, although available scene guides do not reliably separate its exact on-screen placement from Lawson’s background version.
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“I Lied to You (Radio Edit)” — Miles Caton
The radio edit is included as a separate album track. The film’s principal dramatic performance is the full “I Lied to You” sequence at Club Juke; the presence of the radio edit on the album does not indicate a second, separately identifiable scene performance.
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“Pick Poor Robin Clean” — Geechie Wiley
Geechie Wiley’s recording is a separate version from the cast performance by Jack O’Connell, Lola Kirke, and Peter Dreams. It is included on the soundtrack album, but public guides do not establish a separate, clearly identifiable feature-film scene for this version.
Physical soundtrack formats
The 22-track song release is available as a digital album, and physical editions were subsequently issued on vinyl and CD through Mutant and Sony-related soundtrack channels. For physical collectors, the released formats include Sinners soundtrack vinyl and Sinners soundtrack CD. Pressings, retailer listings, stock, and packaging details can change, so check the current product description before ordering.
The separate Sinners score by Ludwig Göransson
The song soundtrack does not contain the full instrumental score. Göransson’s separate score supplies the connective tissue between the blues performances, spirituals, Irish singing, African musical references, rock textures, and modern electronic or hip-hop-inflected sounds. It often intensifies the film’s ideas about cultural inheritance and the attempt to control or exploit music.
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The separate release is the Sinners original motion picture score by Ludwig Göransson. Its publicly listed titles are:
- “Filídh, Fire Keepers and Griots”
- “Smokestack Twins”
- “Grace, Bo and Lil’ Lisa”
- “(Delta) Slim’s Patch”
- “Clarksdale Love”
- “Why You Here / Before the Sun Went Down”
- “Not What He Seems / Sé Abú”
- “Magic What We Do (Surreal Montage)”
- “Mount Bayou / Proper Black Folks”
- “She Said, ‘We?’”
- “Playin’ Games, Tellin’ Ghost Stories”
- “Hole Up ’Til Sunrise” featuring Lars Ulrich
- “Together Forever”
- “Thy Kingdom Come”
- “Bury That Guitar”
- “Grand Closin’” featuring Eric Gales
- “Elijah” featuring Eric Gales
- “I’ve Seen Enough of This Place”
- “Free for a Day”
The Club Juke performance of “I Lied to You” demonstrates why the two releases should be heard together rather than treated as competing soundtracks. The screenplay describes a surreal montage in which Sammie’s playing becomes visually connected with ancestral musicians, a Senegalese xalam player, a 1970s psychedelic guitarist, griots, and a future DJ. That passage is best understood as a combination of Sammie’s song performance and Göransson’s score material, not as one conventional album track with a simple beginning and end.
End-credit and post-credit music: the correct watch order
If you are watching specifically for the closing music, the sequence is:
- Main narrative ending: “Last Time (I Seen the Sun)” by Alice Smith and Miles Caton.
- Main end credits: “Sinners” by Rod Wave.
- First post-credits scene: Buddy Guy’s version of “Travelin’.”
- Later post-credits scene: “This Little Light of Mine” by Miles Caton, with the sequence showing young Sammie and the continuation of his musical path.
The film’s physical home-video editions include 4K Ultra HD, Blu-ray, and DVD versions released on July 8, 2025. A Sinners 4K Blu-ray or another physical edition is useful if you want to revisit the ending and both post-credit scenes, but edition availability and included extras can vary.
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A minute-by-minute list would imply more precision than the available evidence supports. Public guides identify many placements by scene, but they do not provide an authoritative, version-specific timecode list for every track. Runtime and timing can also differ between theatrical, streaming, and home-video editions, while some album tracks are alternate versions or are embedded in larger song-and-score passages.
For that reason, this guide uses reliable narrative landmarks—Sammie’s return to church, the railway station, Club Juke, the end credits, and the two post-credits scenes—instead of presenting guessed timestamps as fact.
What the soundtrack is doing in the story
The music is not merely period decoration. “This Little Light of Mine” frames Sammie’s connection to church, family, and inherited tradition. “Juke” turns a railway-station performance into an invitation to a shared space. “I Lied to You” makes Sammie’s authorship and artistic identity public, while the surreal montage places his blues within a much larger lineage that crosses geography and time.
The Irish folk songs serve a different dramatic function. “Pick Poor Robin Clean,” “Will Ye Go, Lassie Go?,” and “Rocky Road to Dublin” initially present Remmick and his companions as musicians seeking entry, but that performance culture becomes entangled with predation and supernatural corruption. The contrast helps explain why the film moves so freely between blues, gospel, folk, rock, and contemporary sounds: music is shown as memory, community, seduction, inheritance, and power.
That is also why the separate Göransson score matters. The songs supply recognizable performances and voices, while the score can make connections that no single released song can contain. Together, they create the film’s larger argument about who gets to claim music, where it comes from, and what happens when art is treated as something to possess.
Frequently Asked Questions
Is the Sinners score included on the 22-song soundtrack?
No. The 22-track song soundtrack and Ludwig Göransson’s original score are separate releases. The song album contains performances and original songs, while the score supplies instrumental cues and transitions. “Séance” and the “I Lied to You” montage blur that boundary, but the complete score is not contained on the song album.
What songs play during the Sinners credits and post-credits scenes?
Rod Wave’s “Sinners” plays over the main end credits. Buddy Guy’s version of “Travelin’” plays in the first post-credits scene, and Miles Caton’s “This Little Light of Mine” appears in a later post-credits sequence featuring young Sammie.
Why does the Sinners soundtrack list some songs twice?
There are two versions of “Travelin’,” two versions of “Pale, Pale Moon,” and two versions of “Pick Poor Robin Clean” on the released album. The versions have different performers, and not every album version has a separately identifiable feature-film scene.
Why doesn’t this guide give exact timestamps for every song?
No authoritative, version-specific timestamp list is available for every track. Scene placement is documented for many songs, but runtimes and edit points can differ across theatrical, streaming, and home-video editions. The guide therefore uses scene landmarks rather than guessed minute-and-second timings.
The Bottom Line
Sinners has a 22-track song soundtrack and a separate Ludwig Göransson score. The most important placements are “I Lied to You” at Club Juke, “Sinners” over the main credits, Buddy Guy’s “Travelin’” in the first post-credits scene, and “This Little Light of Mine” in the later post-credits sequence. Several other album tracks are alternate versions or documented releases without a reliably established standalone scene, so they should not be assigned invented timestamps.
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