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Many songs from across the musical canon feature the sound of ocean waves, wind, rain, thunder, lightning, bird calls and other sounds of nature. Now, nature itself is being recognized as an artist for these contributions in an initiative to raise money for global conservation efforts.
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This new projects, Sounds Right, includes “Nature” getting an artist page on Spotify, with this page populated by new music and older songs remixed to “Feat. NATURE” by artists including David Bowie with Brian Eno, Ellie Goulding, U.K. electronic outfit London Grammar, neo-soul and folk artist UMI with V of BTS, Indian artist Anuv Jain, Norwegian singer Aurora and many more.
These songs will also be available on all major streaming platforms, with royalties going to Sounds Right. The project is projected to raise more than $40 million for conservation efforts from more than 600 million individual listeners in its first four years.
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Launched Tuesday (April 18), the Spotify playlist currently features 15 tracks, with more to be added as Sounds Right grows. Currently available songs include a “Nature Remix” of Goulding’s 2020 song “Brightest Blue” that now incorporates sounds of the Colombian rainforest. The 1995 Eno and Bowie collab “Get Real” features the sounds of hyenas, rooks and wild pigs, while Jain’s “Baarishein” includes the sound of an Indian rainfall.
Revenue will be collected by conservation nonprofit EarthPercent, then allotted to biodiversity conservation and restoration projects in threatened ecosystems around the world. The Sounds Right Expert Advisory Panel, a group of established biologists, environmental activists, representatives of Indigenous Peoples and experts in conservation funding, will advise on how funding should be dispersed.
“It’s been fantastic to see so many brilliant artists excited to engage creatively with the sounds of nature and supportive of Sounds Right’s core objective to see that nature is fairly compensated for her musical contributions,” EarthPercent’s Co-Executive Director Cathy Runciman said in a statement. “We know that many artists care deeply about protecting and restoring nature, and it’s a privilege to launch these collaborations via the Feat. NATURE playlist and together generate positive impact for biodiversity.”
Sounds Right was developed by the Museum for the United Nations and UN Live, Copenhagen-based organizations that use culture to crate local action and global change, in collaboration with a variety of climate-focused partners.
On Feb. 5, 300 workers from North America’s music industry gathered at the inaugural Music Sustainability Summit to discuss the impact of climate change on their business. “People were always asking where to start, what to do and how to do it,” says Amy Morrison, co-founder and president of the Music Sustainability Alliance, which organized the symposium. “We saw a need to bring people together in order to not duplicate work, to share best practices and to spotlight the good work everyone is doing.”
Morrison formed the 501(c)(3) nonprofit MSA with co-founder Mike Martin during the pandemic and near the end of her 23-year run as senior vp of marketing at Concerts West/AEG. While semiretired, she still consults for the company and continues running tour marketing for The Rolling Stones, including their North American Hackney Diamonds trek this summer. The touring shutdown enabled her to complete a certificate program in sustainability at Presidio Graduate School, and she now dedicates most of her working hours to the MSA. (The alliance is currently collaborating with a nonprofit fundraising consultant to raise money to pay staff.)
The MSA’s mandate is the creation of “climate-focused professional resources and community,” Morrison explains. “It’s a relatively simple concept, but nobody ever saw the need for it. The downtime we had to reflect during COVID was helpful, and the timing now couldn’t be better to accelerate and lift everyone up together to do this.”
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The Music Sustainability Summit will be an annual gathering that takes place in Los Angeles — where the MSA, like Morrison, is based — on the day after the Grammy Awards, and MSA will organize a number of year-round initiatives and track environmental regulations that will affect the industry, with the two most pertinent being truck emissions and phasing out single-use plastics. It also offers a music-industry resource guide.
“It still blows my mind that I get to work with the Stones,” Morrison says. “Living in L.A., this poster beautifully marries the SoCal vibe and the greatest rock’n’roll band in the world.”
Maggie Shannon
By mid-April, the MSA plans to have three to five working groups dedicated to promoting sustainability practices in the industry. Each will share solutions and actionable recommendations. In collaboration with the Eller College of Management, MSA is also conducting an analysis of the economic impacts of extreme weather on the live industry and how environmental regulations will affect touring practices. Morrison is also a member of the advisory group for the Sustainable Production in Entertainment Certification, which is being developed by the U.S. Green Building Council-Los Angeles in partnership with experts to develop SPEC’s green certification program for workers across the entertainment industry.
Beginning in May, MSA will hold a series of webinars that will focus on merchandise, food choice impact, easy ways to green events, regulations and incentives, among other topics. Plans are also underway to launch quarterly member happy hours in L.A. and New York.
“I oversimplify things a lot, which I think is a gift and a curse,” Morrison says, “but it makes me not scared and it motivates me to try things because it’s like, ‘We can do this.’”
It’s often said that despite the music industry having a very small impact on climate change, it has an outsize influence on the culture that can be leveraged. What are your thoughts on that?
I agree as a general statement. I feel it’s really important, though, that we have our house in order and that the industry can walk the walk, speak with confidence and be legit and authentic in getting that message out. I think that supports artists who want to speak out as well because they have the confidence that the industry is behind them.
The MSA wants to create that confidence. The mission is to have a net-zero music industry by 2050 [with] lots of milestones along the way.
“This clock commemorates The Concert of a Lifetime, Simon & Garfunkel’s 1993 residency at [what is now] The Theater at Madison Square Garden. I grew up listening to them, and being a part of this historic reunion was a career highlight.”
Maggie Shannon
What initiatives is the MSA working on?
We’ve been working on a Get Out the Vote working group. There’s a lot of interest, and it involves everything from message targeting, deciding on markets and the intention of activating younger people to vote [with consideration for] the climate. We’re also talking about how to use the channels we have: What can a venue do to get the word out? What can a promoter do? Then the campaign needs to be created for them to actually have something to share. It could even be picking a city that needs the impact and finding a local artist there [to get involved] who could be just as meaningful as getting a superstar to do it. We’re working with folks that create campaigns, along with political experts.
You work in the touring industry. What initiatives do you have in that sector?
In the next couple of months, we’re launching a campaign for [tours] to have one less truck. It’s about flipping the narrative that [the goal] is no longer having the biggest tours with the most trucks — it’s about still putting on a beautiful show, but with fewer trucks. That’s something we can measure over time. It’s a ways down the road from launching. We’re also working on courses for worker education on how to be green, like a certification you get in how to do your job in a green way. We need operational change, and it only comes from education.
“Running the marketing for a festival of this magnitude with these artists was an incredible experience. I got to draw on my touring experience while learning new things.”
Maggie Shannon
What would a curriculum like that teach?
It could be how to set up composting backstage, or how to go down your supply chain and source items, or how to measure energy use. Really basic stuff, starting on the production side.
Because production has the biggest impact?
Yeah, and it’s easier to adopt. It’s important for systemic change that the people who are doing the work, who are really making operations hum, understand the work. And if their bosses or management see the value in funding this type of program, then it’s also coming from the top.
How do you see the music industry generally becoming greener?
I see it in the expansion of departments, with more people being hired and more resources getting put behind it. [Live Nation’s touring program] Green Nation is starting to really empower its production teams to lead in the green space, and they’re putting green coordinators out on the road. It’s not like, “The runner or the [production assistant] can do it.” There has been a shift in the acknowledgment that this is actually a job.
The MSA is working with big companies that compete with each other. What has that been like?
We’ve found that in the production vendor world, it’s a no-brainer. They’re all game to be on the same calls and do things together. At the summit, the panel with the [sustainability leads from AEG, Live Nation, ASM Global and Oak View Group] was a good start. A secret mission of mine is to find a project for the four of them to work on. Maybe to find a city where they all have a property — I’m sure there’s more than one — and work on [climate-minded] infrastructure together. It can be a small thing to do as proof of concept. I think the working groups will bring some of that because a lot of our role is to facilitate, convene and set the table for people.
A friend gifted Morrison this Al Hirschfeld drawing of Grateful Dead frontman Jerry Garcia. “As a longtime Deadhead and Hirschfeld fan, it makes me smile to see Jerry doing what he loves.”
Maggie Shannon
I think part of the road map for us is to come up with some science-based, peer-reviewed recommendation to take to the C suite and say, “Here are a couple of projects that maybe if all the venues work together on, this is the impact it could have, and all it will cost you is X, Y or Z.”
I can see how having such options would be useful for busy people who don’t know where to start.
Maybe I’m dreaming, but they really should all work together on this, and I think they will, with the right projects and the right impact.
Climate change can feel so overwhelming. How do you avoid existential dread and stay in a place of progress and optimism?
I’m a half-full gal. I am optimistic, and I’m fed by support, good work and successes. The summit was amazing. I couldn’t have dreamed of it to be any better. And everyone still showed up during a crazy rainstorm. There were a lot of years of banging the head against the wall around all this, but change is happening. So I’m not driven by fear — I’m driven by making a difference.
This story will appear in the March 30, 2024, issue of Billboard.
In early September 2022, organizers of the Harvest Moon festival in Miramar, Fla., were forced to cancel their three-day country music event for an unusual reason: They could not find affordable cancellation insurance for the festival, which was scheduled to take place Oct. 27-29, little more than a month away.
Executives with destination-festival producer Topeka thought they had a policy in place when they announced Harvest Moon — which was to feature headliners Eric Church and the Turnpike Troubadours — and had had no problem getting coverage in the past; the festival fell outside the official hurricane season. But approximately six weeks before the event, weather forecasts indicated that Miramar could be in the path of two developing superstorms. As a result, sources close to the festival tell Billboard that Harvest Moon promoters were suddenly being quoted prohibitively high prices that led to the decision to scrap the event and refund buyers, despite being 70% sold.
While these circumstances are rare, the incident underscores how the liabilities posed by inclement weather and climate change have significantly increased financial risk for independent promoters.The event business used to be much more competitive, which meant much lower prices for the policyholders. But a substantial increase in the number of festivals taking place yearly in North America, coupled with an increase in adverse weather, has caused event cancellation insurance premiums to triple and deductibles to balloon in recent years.
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For much of the last decade, event cancellation insurance enabled promoters to insure their expenses and forecast profits for about 80 cents per $100. So, for example, a promoter that booked an artist for $500,000 could purchase a $4,000 policy covering that expense in the event of an adverse weather cancellation.
But policy prices have risen exponentially now that “insurance companies are increasingly relying on historic data about regional weather patterns and spending more time trying to identify the statistical risk based on location and time of year,” says Paul Bassman, a broker with Dallas event coverage firm Higginbotham.
Tim Epstein, an attorney for independent festivals in North America, says rising premium costs are first felt by indie promoters and organizers. While Live Nation and AEG have begun reducing payouts for festivals that cancel 60 to 30 days in advance, prompting some artists to carry their own policies, indie promoters can’t often stipulate similar terms for their acts, and, as a result, “people are becoming more cognizant of the risks they face from weather,” he says.
This story will appear in the March 30, 2024, issue of Billboard.
This past Monday (Feb. 5), roughly 300 people across music industry sectors gathered at The Novo theater in downtown Los Angeles for the first -ever North American music industry climate summit. Outside, sheets of rain came down during unusually heavy storms in Southern California, adding a sense of urgency – and purpose – to an event meant to catalyze the music industry into taking meaningful action on the issue.
Organized by the Music Sustainability Alliance (MSA) – a neutral body that functions as a sustainability convener and resource for the entire industry – the Music Sustainability Summit featured eight hours of panels on climate-related topics, from carbon emissions related to fan travel to environmentally responsible food sourcing at events. Attendees were encouraged to (and did) bring their own water bottles and lanyards, with reusable cups on hand and a plant-based lunch served with bamboo plates and cutlery.
The event was a watershed moment for the music industry’s relationship with climate change, marking the first-time leaders of all sectors of the industry came together to discuss the issue and commit to creating systemic change. Enthusiasm around the event – which had to move to a larger venue to accommodate interest and drew a big crowd even in inclement weather – demonstrated that the industry is eager, even desperate, to become more sustainable and use the platform of music to inspire and catalyze a cultural movement for climate action.
Beyond knowledge sharing, the summit succeeded in bringing together stakeholders in the music industry’s fight against climate change, solidifying and expanding this community and shoring up the collective knowledge base. The summit was hosted by Joel Makower, a business sustainability expert and journalist whose depth of knowledge on the subject was matched by a thoughtful, often funny demeanor that brought levity to an often very existential seeming problem.
“The good news we don’t hear enough about is that we already have the solutions to climate change that work and are affordable,” noted one panelist. “How do I know this? Because we’ve scienced the s— out of it.”
(The summit was held under the Chatham House Rule, which advises that anyone who comes to a meeting is free to use information from that meeting, but is not allowed to reveal who made any particular comment. This rule was enacted so that summit attendees could speak freely in order to allow the event to have the highest impact. Billboard was the media sponsor of the Summit and agreed to abide by this Rule.)
Representatives for the MSA tell Billboard that following the summit, the plan is to keep momentum going through the formation of working groups. The MSA — lead by president and co-founder Amy Morrison, director Eleanor Anderson, co-founder and board member Michael Martin and board member Kurt Langer — will function as admin for these groups, helping bring people together, organize meetings and take notes to ensure conversations turn into action.
The MSA will also host monthly webinars to focus on specific issues. The first one next month will include a vote on how the industry can use its platforms to encourage audiences to be climate-minded voters. The summit will become an annual event, scheduled to happen annually on the day after the Grammys. Additionally, the MSA is working on accessible online content including an updated resource guide and other educational materials.
Music Sustainability Alliance staff Kurt Langer, Amy Morrison, Eleanor Anderson, and Michael Martin
Gilbert Flores
A crucial part of the plan is to have employees from competing companies engage with each other in a pre-competitive environment to share information and take steps that will be necessary for all companies to enact to meaningfully address climate change. The summit demonstrated that these precompetitive conversations are possible, with one panel featuring chief sustainability officers from Live Nation, AEG, ASM Global and Oak View Group, who told the audience they were all friendly with each other anyway.
Here are a few of the many things learned at the inaugural event.
The Music Industry Has Oversized Influence On The Issue
While it’s not yet clear just how much carbon emissions the music industry is responsible for, it’s likely that this number is relatively small in comparison to other industries. But the influence the industry has on climate change is massive, with many speakers emphasizing that because music affects culture — and the hearts, minds and motivations of listeners — the effect the industry can have on the issue is tremendous.
“Music makes culture,” one speaker observed, and thus determines “what things in culture become normalized.”
Artists Can Do a Lot, But They Can’t Do It All
There were many conversations about the effect artists can have in terms of educating their audiences on climate change and motivating fans to take action. These conversations observed that authenticity is the key to successful initiatives and that fans find it most inspiring when artists take action with them. Billie Eilish’s sustainability efforts were cited many times throughout the day, including a statistic that 130,000 fan actions resulted from Eilish’s climate change initiatives during her last tour.
These discussions advised, however, that artists cannot take on the burden of responsibility alone, with everyone in the industry responsible for initiating action, while also working with legislators.
Practical Solutions Are Available Now
A presentation on waste management noted that four billion single use cups are thrown away at live events every year. But the music industry is leading the re-use movement in the United States through a company called r.Cup — which provides reusable cups in venues and at festivals and which has eliminated 43 tons of plastic so far. Both AEG and Live Nation have employed successful reusable cup programs at various events.
Emissions: Fan Travel Is The Leading Issue
In terms of energy use, a panel on diesel fuel noted that the quickest way to decarbonize the music industry would be to remove diesel generators from event sites. While this measure is currently cost prohibitive and not yet possible, as most legacy rental companies would need a massive infrastructure upgrade to make it happen, the panel emphasized that it’s likely the technology to make this happen is forthcoming.
This conversation also included the use of HVOs (renewable diesel) that reduces CO2 emissions by 90%, along with talk about the option for currently available batteries to replace diesel generators in ancillary uses like parking lots and site lighting, etc. The hybrid use of batteries and generators was also discussed.
During the panel, it was noted that fan travel contributes to 50-80% of music industry carbon emissions, an acute issue given that many festivals happen in far-flung locations and that even many cities connected to the grid don’t offer public transportation. This conversation illustrated the need for promoters, venues, festival producers, fans, artists and municipalities to work together.
Food Is a Crucial Piece of Puzzle — And Action On It Can Happen Now
With animal agriculture being a major contributor to climate change, deforestation and air and water pollution, a food-focused panel demonstrated that the industry – from massive arena concerts to video shoots to award shows and meetings – can impact this in a positive way through plant-based catering and concessions.
It was suggested that even large venues that get food from large, national distributors could open up one plant-based concession stand to a local business or allow this business to park a food truck outside. Changing menus to include plant-based options is doable now, and a good place to start in terms of action that has the potential to change people’s everyday food choices.
Support And Feed, an organization founded by Eilish and Finneas’ mother Maggie Baird that works to mitigate climate change and increase food security by driving global demand, acceptance, and accessibility of plant-based food, is considered a leader in this space. The food panel also cited that roughly 8.8 million gallons of water were saved thanks to Eilish’s last tour switching to plant-based catering.
In Warner Music Group‘s sprawling 2023 ESG report, released Tuesday (Jan. 30), the label outlined plans and goals for its workforce, artists and environmental impact.
“We are determined to transform our business and spur industry change to mitigate the effects of the climate crisis,” the report states in an expansive section on sustainability practices. “This includes measuring and understanding WMG’s environmental footprint, setting science-based targets to reduce emissions…and leveraging our scale, experience and partnerships to foster cross-industry cooperation to minimize the environmental impacts of making and distributing music.”
For the company, these changes start with the company’s brick-and-mortar spaces, with the goal that “WMG will source 100% renewable energy for our operations” by 2030.
The plan is to first implement this initiative in WMG’s global offices and workspaces before rolling it out to WMG-owned and operated facilities. The company also plans to decarbonize its workplaces through 100% renewable energy-based power by 2030.
The report cites WMG joining with Sony Music Entertainment and Universal Music Group in 2023 to establish the Music Industry Climate Collective. The first initiative of this working group has been supporting the development and implementation of sector-specific guidelines for calculating Scope 3 GHG emissions within the recorded music industry. “Scope 3” refers to indirect emissions that occur in the value chain, such as those from product manufacturing, distribution and licensing.
The company also noted a previously announced partnership with MIT, Live Nation, Coldplay and Hope Solutions to understand and mitigate the environmental impact of the live events.
The company cites a goal of increasing public transportation utilization by 20% at Warner Music live events. This effort has already resulted in a partnership between Warner Music Finland Live and Helsinki City Public Transportation, which has provided fans with free public transportation included in their concert tickets.
With its environmental impact data independently reviewed and assured by a third-party auditor for the first time in 2023, WMG reports that in the past year, it has made “significant strides” in its Scope 1 and 2 data collection, analysis and methodology. (Scope 1 and 2 refers to emissions that are owned or controlled by the company and indirect emissions that result from activities of the company.)
“Despite our return to office,” the report says, its efforts “have led to an overall decrease in our reported Scope 1 and 2 greenhouse gas emissions for 2023.”
The report also cites successful employee-driven initiatives, including its U.K. Wrights Lane office eliminating single-use plastic and switching to reusable cutlery and serveware. The WMG office in France has eliminated paper cups and improved waste management to increase recycling.
Regarding sustainable products and merchandise, the company outlines “an industry-first method” of creating vinyl albums using PVC alternatives. Says the report: “We are delivering these changes in partnership with our artists and songwriters, many of whom are increasingly looking for ways to share music with their fans in a sustainable way.”
Read the full report here.
As the music industry prepares to gather next week in Los Angeles for discussions on how to address climate change within the sector, a new initiative to better understand the scope of the challenge is underway.
On Monday (Jan. 29), MIT’s Environmental Solutions Initiative announced that it’s launching a comprehensive study of the live music industry’s carbon footprint. Co-funded and supported by Warner Music Group, Live Nation and Coldplay, the report will suggest solutions to reduce the environmental impact of live music events across all venue sizes, from, a statement says, “pubs and clubs to stadiums.”
Focused on the U.S. and U.K. markets, the partnership will begin with an initial research phase, with the resulting Assessment Report of Live Music and Climate Change expected to be complete by this July.
The report aims to provide a comprehensive assessment of the relationship between live music and climate change, to identify key areas where the industry and concertgoers can make tangible improvements to reduce emissions, to foster positive outcomes and to provide a detailed analysis of the latest developments in green technology and sustainable practices.
“I’m delighted that we will be working with our partners to co-create recommendations for a sustainable future in music,” says Professor John E. Fernandez, director of the ESI at MIT. “As well as jointly funding the research, I applaud the spirit of openness and collaboration that will allow us to identify specific challenges in areas such as live event production, freight and audience travel, and recommend solutions that can be implemented across the entire industry to address climate change.”
Coldplay has also committed to manufacturing all physical records for their forthcoming 2024 album from recycled plastic bottles, which a statement claims is the first initiative of its kind.
Coldplay is a longtime sustainability leader, with the band saying last June that its Music Of The Spheres tour has so far produced 47% fewer CO2e emissions than its previous tour and that it’s planted five million trees to date.
With fan travel being one of the biggest carbon emissions drivers in the music industry, in 2022 the band partnered with Live Nation and major public transportation providers to offer fans free or discounted rides to foster more sustainable travel. A study found that this initiative fostered a 59% average increase in public transport ridership on show days across four U.S. cities.
The first-ever North American music industry climate summit is growing.
The inaugural Music Sustainability Summit has announced that due to high demand, it’s moving the event from the USC campus to the 2,300-capacity The Novo in downtown Los Angeles.
Set to take place on Feb. 4, the summit will feature a day’s worth of discussions on how the music industry is addressing, adapting to and finding solutions for the climate crisis.
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In addition to the summit’s previously announced programming, the event has added a conversation with promoters and venues including Lindsay Arell, the chief sustainability officer of ASM Global; Lucy August-Perna, the head of global sustainability at Live Nation Entertainment; Erik Distler, the vp of sustainability at AEG; and Kristen Fulmer, the head of sustainability at Oak View Group and GOAL. The discussion will focus on challenges, bright spots and visions for the future.
Additionally, the summit has added a conversation between representatives from several major labels, including Olga LaBelle, the vp/head of ESG at Warner Music Group. Representatives from two other labels will be announced in the coming weeks.
Newly added speakers include Jonathan Foley, the executive director of Project Drawdown; Cassie Lee, the CEO of Sound Future; Adam Met of the band AJR, who also serves as the executive director of Planet Reimagined and a professor at Columbia University; artist Beattie Wolfe; artist AY Young; Jett Glozier, the global head of infrastructure at Sound Diplomacy; Jon Ozaksut, the digital director at the Yale Program on Climate Change Communication; and Rita Kampalath, the chief sustainability offer of L.A. County.
Tickets for the summit are on sale now and available on a sliding scale. The doors open at 8:30 a.m., with programming beginning promptly at 9 a.m. and running until 5:30 p.m.
The event is being organized by the Music Sustainability Alliance, which provides science-based solutions, business case analyses, best practices and tools for operational change across the music industry. The Alliance reports that a diverse group of attendees has already registered for the event, including big names in climate science and sustainability, along with music industry professionals from venues, promoters, agencies, production companies, artist management companies and more.
“Every job is a climate job,” the Music Sustainability Alliance’s Amy Morrison tells Billboard.
Billboard is the official media partner of the Music Sustainability Summit.
With climate change having an increasing effect on the music industry, Billboard is partnering with the Music Sustainability Alliance to help foster impactful solutions to this urgent issue.
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Billboard will be the official media partner of the inaugural Music Sustainability Summit, happening Feb. 5 at the USC Campus in Los Angeles. Produced by the Music Sustainability Alliance, the event marks the first music industry climate summit in North America.
“Billboard is delighted to be partnering with the Music Sustainability Alliance to amplify their essential work in educating the music industry about climate action,” says Billboard‘s Chief Brand Officer Dana Droppo. “Dedicating our attention to environmentalism is an investment in future generations of fans and artists alike, and we can’t wait witness the exchange of ideas at this inaugural Summit.”
The Music Sustainability Alliance provides science-based solutions, business case analyses, best practices, and tools for operational change across the music industry. Tickets for the Summit — running 9 a.m. to 5:30 p.m. — are available on a sliding scale between $25 and $200 and are available now.
“The MSA is thrilled to partner with Billboard to advance meaningful climate action in the music industry,” adds Music Sustainability Alliance President and Co-founder Amy Morrison. “With the support of Billboard, The Summit will become an annual gathering of the tribes, bringing together the MSA team, our diverse group of stakeholders and new advocates.”
The Summit will feature speakers including Lindsay Arell, head of sustainability at ASM, Maggie Baird the founder of Support + Feed, John Fernandez, the director of the Environmental Solutions Initiative at MIT, Adam Gardner, the co-founder and Co-Director of REVERB (and also the guitarist and vocalist for Guster), Garrett Keraga, the senior manager of sustainability, policy & advisory at ClimeCo, Cassie Lee, the CEO of Sound Future, Michael Martin, the CEO and founder of r.World & Effect Partners, Amy Morrison, the president & co-founder of the the Music Sustainability Alliance, Lesley Olenik the vice president of touring at Live Nation and Jake Perry, the director of operations at C3 Presents. See the complete program here.
In less than two months, the-ever first North American music industry climate summit will happen at the USC Campus in Los Angeles. Today (Dec. 14), the event is announcing a robust list of speakers and programming for the day-long event.
Happening Feb. 5, the Summit will feature speakers including Lindsay Arell, head of sustainability at ASM, Maggie Baird the founder of Support + Feed, John Fernandez, the director of the Environmental Solutions Initiative at MIT, Adam Gardner, the co-founder and Co-Director of REVERB (and also the guitarist and vocalist for Guster), Garrett Keraga, the senior manager of sustainability, policy & advisory at ClimeCo, Cassie Lee, the CEO of Sound Future, Michael Martin, the CEO and founder of r.World & Effect Partners, Amy Morrison, the president & co-founder of the the Music Sustainability Alliance, Lesley Olenik the vice president of touring at Live Nation and Jake Perry, the director of operations at C3 Presents.
Other speakers will represent companies including TAIT, CES, Coca Cola, Overdrive Energy Solutions and Rock-it Global. Additional speakers will be added before the event. Panels will be moderated by GreenBiz Chairman & Co-founder Joel Makower and address climate-related problems specific to the music economy including carbon emissions from fan travel, waste management, clean energy options and much more. See the complete Summit program below.
The Music Sustainability Summit is being produced by The Music Sustainability Alliance, an organization that provide science-based solutions, business case analyses, best practices, and tools for operational change across the industry. Tickets for the event — running 9 a.m. to 5:30 p.m. — are available on a sliding scale between $25 and $200 and are available now.
“We welcome all, the climate curious and the climate experts,” Music Sustainability Alliance co-founder and president Morrison said upon the Summit’s announcement. “There will be something for everybody.”
Music Sustainability Summit 2024 Program
Our Place in the World, Welcome from the MSA: Get grounded in space in time with Amy Morrison and Michael Martin, co-founders of the MSA, and Joel Makower, founder of GreenBiz – the most vital resource for greening the economy on the planet.
What’s the Problem?, The New Music Sustainability Basics: Emissions and waste are hard to measure, so we’ve gotten the experts to do it for us. MIT presents an overview of the music industry decision makers from a sustainability lens, showing us where to place our emphasis – ClimeCo brings a holistic picture of the problems we face, based on interviews from players across the music landscape. Finally, Cassie Lee from Sound Future shows us how to leverage the power of live events as a catalyst for climate innovation.
The Artist-Activist Spectrum, Artist Discussion: You’re small, you’re huge. You’re an activist first, you’re an artist first. Most likely, you’re somewhere in between. Join artists from all over the spectrum as they speak openly about the challenges, anxieties, and joys of climate action. And learn how to most effectively support them in their quest for impact.
What We Eat Matters, Food, Carbon, and Equity: “Plant-based eating is the single biggest way to reduce your impact on the earth.” – Univ. of Oxford. This conversation will explore how the music business can set precedent for other industries. From catering, to concessions, to community outreach, we will shine a light on how to eat more sustainably for the planet and each other. This conversation will show the opportunities artists and the music industry have, to shift to a more equitable food system and how they can impact local communities.
That’s Trashy!, Waste Management: It’s the most visible problem in the live music industry: millions of plastic cups, food containers, and pounds of food waste. No one likes it, it’s expensive, and there’s a solution. Join the people engineering the future of zero waste venues, and hear directly from waste haulers and concessionaires about the pain points of the transition.
Dark Days for Diesel, New Horizons for Power: Diesel generators are like the gas-powered leaf blower of the music industry: dirty, loud, and carbon-polluting… but familiar and reliable. As clean energy technologies become more widely available, festivals are leading the way in innovative power solutions to shift the industry away from fossil fuels. Meet the experts battery-powering the revolution and learn how you can hop on the train before it leaves the (solar-powered) station.
Haul it All, Freight, Trucking, Logistics, and Shipping: Whether you’re touring with a convoy of 18-wheelers, a fleet of cargo planes, ocean freight or just an acoustic guitar, getting all your gear from place to place is top-of-mind from an emissions perspective. Learn how to design cleaner, less-wasteful touring from the ground up and what artists and tours are doing today to reduce their environmental and social impact.
The Elephant in the Car, Fan Travel: It sucks, and no one wants to talk about it: anywhere from 50 – 90% of the music industry’s emission problems come from fan transportation. Like it or not, we generate the demand, and that means we’re responsible for the planes, trains, and automobiles that get people to the show. How do we even get started? From shuttle programs, to incentivizing mass transit, to lobbying for clean energy, it’s time to bite the bullet and build a livable future for our fans and ourselves.
Our Voice, Our power, Climate Communications and Fan Engagement: We’re musicians and music business professionals, not scientists. So let’s learn how to use our best weapons – our voices – to fight climate change. Learn from climate communication experts about the most effective ways for musicians and their teams to talk about climate – without fear of getting canceled.
Processing: What Just Happened?, Moderated Group Discussion: Joel Makower of GreenBiz leads us in conversation. Now that you’ve got the lay of the land, it’s time to put it all together. Meet with your new (and old) partners on the journey. Ask questions about your place on the road to zero emissions. If you’ve got questions, chances are, you’re not the only one. In this session, the audience has a chance to join the discussion and inform what’s next.
Where do we go from here?, Onwards and upwards with the MSA: Learn what’s next for the MSA and others in the industry, including plans for getting together to help each other along, and shared resources for maintaining a high level of impact.
As the 2023 United Nations Climate Change Conference begins in Dubai, a crew of music artists are putting their support behind a campaign that links climate action and human rights.
As part of the Right Here, Right Now Global Climate Alliance, artists including Demi Lovato, Cyndi Lauper, Carole King and Annie Lennox have released statements urging leaders at the climate summit to support climate justice goals. The campaign will benefit from the artists’ combined social media followings of more than 300 million, with the goal to build support for United Nations Human Rights climate justice goals. Rob Thomas will add his voice to the campaign in the coming days.
The Right Here, Right Now Global Climate Alliance addresses climate change through the lens of human rights, coalescing input from human rights experts, scientists, corporate leaders, NGOs, academics, advocates and people around the globe in the fight for rights-based climate action to preserve the future of humanity and the planet. The organization is partnered with the United Nations Human Rights, one of the U.N.’s major divisions.
All four artists released statements supporting the campaign via Instagram.
“By working together and supporting rights-based climate action for people and the planet,” Lovato wrote, “we can realize a better, more sustainable future for all.”
“Climate change is the SINGLE BIGGEST HEALTH THREAT FACING HUMANITY,” Lennox wrote. “The impacts are already harming health through air pollution, disease, extreme weather events, forced displacement, food insecurity, and pressures on mental health. Every year environmental factors take the lives of 13 million people… Climate change is a huge challenge, yet there ARE MANY SOLUTIONS. These solutions can deliver economic benefits while improving our lives and protecting the environment.”
“The impacts of climate change are now being felt in all countries, yet not all people are being impacted the same way,” wrote Lauper. “Climate change is hitting the poorest and most vulnerable women, children and marginalized people of the world most.”
“By working together and supporting inclusive, rights-based climate action for people and the planet,” wrote King, “we can realize a better, more sustainable future for all.”
The social media campaign precedes a press conference from the Right Here, Right Now Global Climate Alliance and United Nations Human Rights in Dubai at COP28 on Dec. 8. The press conference will include Recording Academy president Panos A. Panay and Chantel Sausedo, the Recording Academy’s vp of artist relations, who together will discuss the organization’s goals of using music to promote climate justice and rights-based climate action.
The Right Here, Right Now Global Climate Summit will be held at the University of Oxford from Sept. 11-14, 2024 and end with the Right Here, Right Now Global Climate Concert. The lineup for the event will be announced at a later date.