A Look Inside the Second Year of John Summit’s Experts Only Festival

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After a sold-out debut last year, Experts Only Festival returned to New York City to close out the summer season. Did John Summit’s second edition meet expectations?

This past weekend, in true John Summit fashion, it seemed like the superstar was everywhere in New York City all at once. There was footage of him breaking a sweat at a fitness class, playing a pop-up show at the New York Stock Exchange, partying at the new Pacha, and, of course, performing at his Experts Only Festival.

Back for a second time, the event was held again on Randall’s Island, one of the very few parks in the city boasting a vast number of trees and large, open grass fields. Not much changed in terms of its layout, which had the shape of an obtuse triangle with the stages as the corners, but what was immediately noticeable to new and returning festival-goers was the great detail of the Main and Mirror stages.

Compared to last year, both stages received a striking makeover. The Main tweaked its previous design by anchoring a massive Experts Only logo above the DJ booth. Where the chandelier over the 2023 Electric Zoo mainstage lay bare and distracting, here the prop was impressive and used tactically, lighting up during awe-inspiring drops and changing colors to match the visual narrative of each performance.

The Mirror area’s perimeter was expanded by placing mirrored pillars farther into the festival grounds. On both sides of the stage, elevated platforms were added to create more spots to dance. The new layout really shined at night when the mirrors refracted lasers and other visual hits, rendering a whirlpool of light around those on the dance floor. This surprising effect easily made it one of my favorite stage designs of the year.

Photo credit: Miguel Florencio

Though stages were upgraded, some areas of the festival felt like something was missing.

But in year two it seemed like most of the attention and care went into these two stages. The Pwemium Wounge, the third stage, looked exactly the same as last year, and, just as last year, there was little to do outside of being at the stages. Near the Pwemium, a small flea market featured local vendors selling items such as clothes, perfumes, and cameras (I give points to the festival for supporting local businesses). But it was a side quest that lasted, for me, less than five minutes.

Also onsite were activations from White Claw, Ghost, and BeatBox, but at these stops there was little incentive to stick around or come back after you’ve experienced them. At the Ghost activation, a long line of people waited on both days to play its arcade basketball machine. The prize for winning? Just bragging rights.

On the official map, a symbol for an art installation was marked between the Mirror and Pwemium stage. But what ravers found there instead was an electronic traffic sign that, at night, told them where to exit the festival. EDM Identity reached out to the organizer after the event to ask what had happened and did not receive a comment in time for our publishing.

Photo credit: Miguel Florencio

The festival’s true potential lies on the horizon.

One fan named Matthew, who flew in from Southern California with his girlfriend, told me that it was his first time attending Experts Only and experiencing a rave on the East Coast. “We follow [John Summit] all around — Las Vegas and his residencies, all that stuff. Like, any time he comes to LA, big shows, all that, we go to it,” he said.

But he and his partner told me that they were disappointed not only with the lack of activities but also with the VIP area, which had simple wooden pallets as lounge couches and had only three food stands, six drink booths, and no merch tent. Matthew did, however, give some grace to organizers, noting that the event will eventually find its footing because other festivals, like EDC Las Vegas, “took years to get established.”

At the stages, though, a different story unfolded. Fans, many of whom chose to wear a white dress shirt and a tie, a nod to Summit’s accountant persona, were in high spirits, passing around sprout clips and “hot” stickers to those around them. Security and medical staff were just as friendly and engaging as they were last year, amplifying the already communal energy by dancing and head-bobbing with ravers. And although it was raining for most of the second day, the party energy and smiles didn’t wash away.

Photo credit: Miguel Florencio Experts Only Festival 2026

Photo credit: Miguel Florencio

Aside from the festival’s activities, the music lived up to expectations.

In today’s oversaturation of music festivals, it’s easy to look at which events have avoided asking the two most essential questions: Who can uphold my vision, and who currently speaks to tens of thousands of people? Summit, who had a hand in curating this year’s talent, put together a roster that not only fit those criteria but also left a mark in the island’s long history of dance music.

LYNY, a rising star known for his rushing and boisterous bass music, unfurled rowdy tracks that hit you like whiplash. The crowd, having only a second to catch their breath between transitions, were somehow able to keep up with his intense tempo. “God, I fucking love New York,” he said of his audience’s energy.

Other artists, such as Levity, knew how to command their audience from the first note. The group’s set teemed with snarling bass lines and piercing wubs that overloaded your senses in the Mirror structure.

Two members of the trio were there on Saturday night, revealing toward the end of their performance that they were “exhausted” and on their “last legs” before hopping on stage, something you wouldn’t have known based on how they moved and their track selection. It’s not a common confession you hear from a performer at a festival, but it served as a validation for the crowd because the pair said that the dancefloor energy fueled them and that it was one of their best shows in a long time.

The most music chaos I felt throughout the weekend happened at both GRiZ’s and SUBJOHNICS’ set. Fidgety drums and remixes of pop hits such as Hilary Duff’s “Come Clean,” Beyoncé’s “Crazy In Love,” and Black Eyed Peas’ “My Humps” made it easy to sing along as you felt the bass rattle your body.

Whenever GRiZ played his sax, or when two other brass players joined him on stage, the crowd’s roars soared to heights as they were awed by his musicianship. At the show of Summit and Subtronics, the closing set of the festival, it felt as if people were finally able to let go of their inhibitions, with many head banging with an intensity that left me stunned.

Photo credit: Miguel Florencio

Randall’s Island once again turned into the biggest party of the summer.

Even though Summit performed three times — a sunset performance, a Saturday closing set, and the b2b with Subtronics — it seemed like fans still wanted more. Every time his catchy “Don’t Believe It” played, at least five times by my count, it triggered the same reaction: hands-in-the-air excitement.

“He knows how to mix it up,” a fan named Raul told me about Summit’s three sets. Raul mentioned to me that there was one year he saw Summit three separate times, and that just as Summit was able to provide a different feel for those sets, he did the same on Saturday and Sunday, offering a variety of sonic elements between his tech house and bass-focused performances. “I guess what’s the most impressive thing about John Summit . . . you know he can do a lot of different things.”

It’s not hard to see why people gravitate toward John Summit. Like many of his previous performances, he was often smiling and making sure those around him on stage were having a fun time. What he represents to many is that classic rock and roll lifestyle, always being surrounded by epic highs. But what some may also fail to notice is that Summit is more than just a party king; he’s foremost a musician who cares about his craft.

Seeing him perform this time, I could tell that he was more confident in his mixing. His discography has grown to include many hits and popular flips, like “Lights Go Out,” “Go Back,” and a recent remix of Lady Gaga’s “Paparazzi.” Through that, he’s gained clairvoyance in knowing when to play each track, triggering the crowd reaction he wants whenever he wants it.

In the summer, Summit was interviewed by Nardwuar and was asked about famed Chicago producers who have inspired him. As Summit finished naming a few, Nardwuar jumped in and said, “These are Chicago house legends — just like John Summit.”

Summit, blushing, said he’s “trying to get there.” This past weekend, though the festival still has room for improvement, he proved that he’s getting there.