The weekend at RISE, held on a broad expanse of the Jean Roach Dry Lake Beds roughly 30 miles southwest of Las Vegas, underscored how much a festival can hinge on the weather. High winds and thick dust disrupted opening night: gates opened nearly three hours late, set times were rearranged, and the planned release of thousands of paper lanterns was called off for safety.

Arrival was another sore point for many: shuttle lines from the Strip stretched for hours, food options felt limited, and social feeds quickly filled with complaints from ticket-holders who expected smoother logistics. On the ground, gusts stung eyes and throats, sending attendees hunting for masks and protective eyewear; for some the evening became an exercise in endurance rather than celebration.

Despite the adversity, artists and patrons pushed on. Singer Emitt Fenn continued his set after a fan passed along ski goggles so he could perform through the dust, and LP Giobbi danced defiantly through wind-swept conditions on the Compass Stage. Ben Böhmer and Rüfüs du Sol also delivered memorable performances on the Horizon Stage, and while headline acts completed their sets, many attendees took to social channels requesting refunds and venting frustration — dubbing the night “Dustpocalypse 2025” in some corners.

By Saturday the atmosphere shifted dramatically. The winds eased to a gentle breeze, dust faded from the air, and ingress and egress improved significantly thanks to adjustments made overnight by the festival team. Staff remained friendly and attentive throughout, helping to ease tensions and improve the overall experience.

RISE is marketed as the world’s largest paper lantern festival and it leans into a contemplative, art-forward aesthetic that contrasts with Las Vegas’s neon excess: art installations, desert couture, tiered hospitality areas and a carefully curated music program that this year included Disclosure, Calvin Harris, John Mayer, Goose, and others.

The production values were notable given the remote site: crisp sound, safari-style lounges, linen seating, multiple bars and diverse food offerings — from casual sliders to elevated plates served for premium passholders. The site layout centered social life around two main stages so attendees only experienced one performance at a time, encouraging a collective focus rather than constant stage-hopping.

On Saturday the musical arc felt euphoric. Disclosure opened with the kinetic energy fans expect, moving through classics like “When a Fire Starts to Burn” and “Latch” alongside newer cuts; their set built toward an explosive finale that included an impressive fireworks display. Saturday’s vibe skewed toward dance, while Sunday shifted toward a more singer-songwriter, jam-band audience with Goose warming the stage for John Mayer.

Mayer — who quipped about the “Las Vegas-ish” scale of the event — treated the crowd to songs spanning his catalog and delivered the guitar work many came to hear. The demographic shift between days illustrated the festival’s breadth: Friday’s electronic faithful, Saturday’s party crowd and Sunday’s mellower, guitar-centric audience all found moments to savor.

The lantern ritual, when it finally unfolded on Saturday and Sunday, became the emotional centerpiece. Attendees wrote messages and wishes on the lanterns — small, intimate confessions and hopes — and watched them lift in slow, shimmering procession across a moonlit sky. The effect was quietly powerful: engagements, embraces, tears and a collective sense of peace that contrasted sharply with the chaos of opening night.

The lesson of RISE 2025 was clear and simple: outdoor spectacles depend on forces beyond promoters’ control. When the elements cooperate, the festival becomes transcendent; when they don’t, even the most polished production can feel hollow. This year delivered both extremes — a rough, dust-filled beginning and, ultimately, luminous nights that made the effort worthwhile for many.