A list of favourite songs is a good starting collection. It is not yet a live set. The order has to work for the audience, the performers and the actual time the organiser has provided.
Write the available stage time at the top of the plan. Clarify whether it includes introductions, instrument changes and leaving the stage. Then time a rehearsal from the first sound to the last, including the gaps. Adding track lengths alone usually misses the part that feels longest in the room.
Give each transition a reason
Listen to the end of one song and the beginning of the next. Does the change feel intentional? Does a tuning or instrument switch create silence that needs a short introduction? Could moving one song remove an awkward changeover?
Think about intensity as more than tempo. A quiet song with a tense opening can hold attention differently from another loud, fast number. Avoid assuming that the set must climb continuously or that every audience wants the same arc.
Prepare a shorter version
Agree in advance which song or spoken section can be removed if the event runs late. Tell every performer, and choose a clear onstage cue. A rushed discussion while the audience waits is harder than rehearsing two versions of the running order.
Keep essential technical notes distinct from the public song list. The sound team may need a stage plot or cue sheet, while the musicians need a readable sequence. Too much information on one page can make the important cue harder to find.
After the performance, note where attention dipped, where a transition dragged and what actually overran. Those observations should inform the next set more than the fact that every individual song was a favourite.