magazine
Page: 17
While accepting the Amplify Award at the 2024 Billboard Power 100 event in Los Angeles in February, the members of boygenius began their speech the same way they had started most shows on their 2023 tour. Lucy Dacus, standing alongside Julien Baker and Phoebe Bridgers, dedicated the moment to the elders and descendants of native peoples and also asked for action from the crowd — which happened to include the music industry’s most powerful executives.
Explore
See latest videos, charts and news
See latest videos, charts and news
“We believe in land back,” Dacus said. “Which is also water back and air back. I encourage you to look into this if it’s a new concept for you. It’s not only a cause that centers Indigenous sovereignty, but the general well-being of the earth and all of its inhabitants.”
Welcome to Territory, also known as a land acknowledgment, is a formalized statement recognizing and respecting the relationship of Indigenous peoples and their traditional territories. Dacus noted that the band worked closely with the Pass the Mic (PTM) Foundation — which was founded by Portugal. The Man — on its tour to help organize such acknowledgments at each show. And while land acknowledgments have become standard practice for Portugal. The Man, with bands including NOFX also opting in, the foundation’s ultimate goal is to prevent invisibility and erasure of Indigenous peoples. Live music has offered an ideal setting to do so, and this past year, more artists — and fans — were eager to participate.
Trending on Billboard
[embedded content]
“Concerts or festivals can be challenging to engage, but people attend them because they want to feel good,” says Múkaro Borrero, kasike (chief) of the Guainía Taíno tribe and president of the United Confederation of Taíno People. Borrero met Portugal. The Man in 2018 after participating in a group land acknowledgment at the band’s show, leading him to become a partner of the foundation. “Music can be a great equalizer, so attendees can be open to hearing some of these messages and learn more than they perhaps knew when they came to the venue.”
The PTM Foundation soft-launched in 2019 with help from executive director Logan Lynn, an artist and advocate who met Portugal. The Man through the Portland, Ore., music scene. After Lynn interviewed the band for his mental health-focused concert series, the group invited him on its 2018 summer tour, which served as a crash course in Portugal. The Man’s many philanthropic and community-focused efforts. “The only thing I can think of is a food court, where there were all these booths and it felt like a rock show,” Lynn recalls, “but it also felt like a place where all different kinds of community members were finding their people and finding a way to get involved.”
Land acknowledgments in particular are an easy, and affordable, foot in for artists and bands wanting to support community. And while Portugal. The Man was one of the first acts to make this its norm — where the group literally passes the microphone to local community members for a few minutes at the start of every set — Lynn noticed an increase in interest following the boygenius tour in particular. “It was so exciting because what [fans] were reposting was the video of the land acknowledgment and tagging the tribes and it felt like a wildfire,” he says. “Every day I was like, ‘Oh, my God, this is exactly the thing we were trying to do.’”
Múkaro Borrero (center) with boygenius backstage at Outlaw Field in Boise, Idaho, in 2023.
Courtesy of Pass the Mic
“One of the things we heard far and wide when we were starting all this was this idea that Indigenous peoples are historic. Like it’s an ancient thing. That Indigenous peoples aren’t your friends and neighbors still,” Lynn says. “It’s this weird thing. Part of what we wanted to do was just make sure people knew that these communities exist where you live.”
But, as he and the band stress, awareness alone isn’t enough. Every partner that engages in the PTM process receives an unrestricted $500 grant from the PTM Fund. Lynn says Portugal. The Man frontman John Gourley has always been committed to moving with meaning — and following a moment with action. “Land acknowledgments have been a mechanism to get people’s attention,” says Laura John, tribal consultant for the Blackfeet and Seneca Nations and PTM partner. “Providing space for [this] should be understood as a gesture of commitment to doing more,” such as providing resources to tribal communities.
As Borrero says, “The next step for someone who experiences a land acknowledgment is to be sure there is a next step … it is the fans that need to help sustain and expand the momentum [the PTM Foundation] has initiated.”
Laura John
Lailani Upham
It comes down on venues and promoters, too. Last year, PTM partnered with AEG on its Re:SET traveling concert series, for which boygenius was a headliner. “I was prepared for it to be clunky and hard and like, ‘Who do I talk to?’ And it wasn’t,” Lynn says. “Everybody from the band to management is like, ‘This is important.’ ”
Borrero agrees, saying that despite some Indigenous peoples who “are not so impressed by land acknowledgments because they view them as performative,” he sees them as a positive beginning. “To go from [the] mainstream not seeing us at all to now normalizing acknowledgment of the original caretakers is, to me, significant,” he says. He also notes that the Taíno community in particular has been cited as extinct by some sources. “Being a partner helps us not only change that narrative but take our power back to tell our own story.”
“The goal has always been to make it commonplace, and it feels like we are moving in the right direction,” Gourley adds. “People show up and it’s expected at our shows now — we want it to become expected everywhere.”
This story originally appeared in the March 30, 2024, issue of Billboard.
Christine Lepera might be one of the country’s top music litigators, but decades ago, she wasn’t even sure she still wanted to be a lawyer at all.
In 1986, just a few years after she graduated law school, she was working at a New York firm where she was “dissatisfied” and, like many young attorneys, faced existential questions about her chosen career path.
“I never intended to be a music lawyer, and after four years at a corporate firm on Wall Street, I was basically ready to quit the law entirely,” she recalls with a laugh.
Today, that’s hard to imagine. Lepera — who is chair of the music litigation group at Mitchell Silberberg & Knupp (MSK) — for years has been one of the music industry’s go-to trial lawyers.
Trending on Billboard
She handles many different types of cases, from representing Daryl Hall in last year’s headline-grabbing battle with longtime partner John Oates that’s still pending to Dr. Luke in his just-settled defamation case against Kesha. But her primary specialty is defending superstar artists against allegations that they’ve stolen their songs from someone else.
Over the past year, Lepera has handled such copyright cases for Dua Lipa, Jay-Z, Post Malone and others; previously, she has done similar work for Katy Perry, Ye (formerly known as Kanye West), Drake, Ludacris and many more. For Lepera, who herself plays piano, working those lawsuits is not just about the people involved, but about their music — and their right to create without facing needless lawsuits.
“What I get the most enjoyment from is servicing the music,” Lepera says. “In many of these cases, what you’re dealing with is people who have not stolen anything and have just used basic musical building blocks. And the other side is literally trying to monopolize music that they shouldn’t.”
In recognition of her achievements, Lepera has been named Billboard’s 2024 Lawyer of the Year. Fellow partners Eric German, Bradley Mullins and David Steinberg join her on the Top Music Lawyers list.
Facing an impasse in her young career, Lepera turned to Martin Silfen — her former law professor at New York Law School and a music attorney who represented clients like Blondie, LL COOL J and Aerosmith — for advice. Silfen connected her with Leonard Marks, a legendary New York music attorney who counted Billy Joel, The Beatles and Elton John as clients over his long career.
The timing was just right. At that point, Marks was getting plenty of litigation business sent his way from John Eastman, another powerful industry attorney who is best known for representing Paul McCartney in his wranglings with the other members of The Beatles (prompted by their association with manager Allen Klein). The late Marks, whom Lepera fondly recalls as an eccentric attorney with you-can’t-believe-he’s-a-lawyer vibes, brought her into his small firm and gave her a shot.
“Len hired me, I started doing lots of entertainment cases and everything changed,” Lepera says.
From left: Attorneys Christopher Buccafusco, Christine Lepera and Carla Miller discussed how copyright law affects creators at a 2019 panel at Cardozo Law School in New York.
Rob Kim/Getty Images
One of the first major cases she handled was a copyright lawsuit filed in 1990 against Broadway composer Andrew Lloyd Webber that accused him of stealing the title song from his smash hit The Phantom of the Opera from a Baltimore liturgical composer. The case dragged on for years, featuring countersuits, multiple appeals and an attempted appeal to the U.S. Supreme Court before ending in the late 1990s with a victory for Lloyd Webber in a high-profile jury trial.
The long-running lawsuit provided plenty of material for the young music litigator to cut her teeth. “It was a 10-year extravaganza,” Lepera says, laughing. “And we won everything at the end of the day.”
In the years that followed, big music cases kept coming. In 2006, Lepera won a jury verdict clearing Ye and Ludacris of allegations that they had based their 2003 Billboard Hot 100 No. 1 hit, “Stand Up,” on an earlier song. In 2015, she helped defeat a lawsuit claiming that Jay-Z and Timbaland had stolen material from an Egyptian composer for their 2000 smash “Big Pimpin’.” In 2017, Lepera won a ruling that Drake had made fair use of a spoken-word jazz track when he sampled it on his 2013 song “Pound Cake.”
The attorney’s trajectory culminated in 2022, when she won a federal appeals court decision that Perry’s 2013 single “Dark Horse,” another Hot 100 No. 1, had not infringed the copyright of an earlier song. It was not only a big win for the singer, overturning millions in damages, but also set an important legal precedent that individual songwriters cannot lock up simple musical “building blocks.”
For years, such lawsuits have been a source of anxiety for creators and companies alike, particularly in the wake of the controversial 2015 verdict that Robin Thicke and Pharrell Williams’ “Blurred Lines” had infringed Marvin Gaye’s “Got To Give It Up.” In the years that followed, artists became more cautious about vetting their songs with musicologists, often preemptively offering writing credits to would-be accusers rather than risking a lawsuit.
But from Lepera’s perspective, song-theft lawsuits didn’t increase after the “Blurred Lines” verdict; rather, they’ve always just been an unfortunate byproduct of success. “You write a hit, you get a writ,” she jokes. In fact, she suggests the verdict had a positive impact: More artists are willing to fight back against questionable allegations and more courts are willing to scrutinize bad lawsuits.
“They’re going to fight and not give into this fear,” Lepera says of her clients and other modern artists. “Even though it’s a very draining, expensive, uncomfortable and uncertain process, I think we’re seeing very strong advocates turning around and deterring these kinds of cases.”
In the past year, Lepera fought battles inside and outside the copyright sector. She represented Lipa in two high-profile lawsuits that claimed the star had copied earlier songs when she wrote her megahit “Levitating.” In June, a federal judge dismissed one of them, agreeing with Lipa’s argument that she had never heard the song in question; the other case, where Lepera has made the same argument, is awaiting a decision. Lepera also won a ruling in September dismissing a lawsuit against Jay-Z, Timbaland and Ginuwine that claimed they had lifted material from an old soul tune for the songs “Paper Chase” and “Toe 2 Toe.”
Perhaps more notably, Lepera resolved the decadelong litigation by Dr. Luke against Kesha, in which her client claimed the pop star had defamed him when she accused him of rape in 2014. After years of litigation and appeals, a trial was set for July 2023; instead, a confidential settlement was reached in June. As part of the agreement, the two issued a joint statement in which Kesha said she “cannot recount everything that happened” while Dr. Luke maintained that he was “absolutely certain that nothing happened.”
The Dr. Luke v. Kesha case, which started years before the #MeToo movement and was heavily litigated throughout that period, sparked strong emotions on both sides and sometimes thrust Lepera herself into the spotlight. In deposition videos made public in 2019, Lady Gaga told her, “You should be ashamed of yourself.”
When facing such situations as an attorney, Lepera says she sticks to the “facts and the law” of a given legal argument and is not intimidated by the celebrities involved or the PR dimensions that can accompany it.
“I can’t advocate a position unless I believe in it,” she says. “I have to truly believe in whatever it is I’m arguing. I’m not really emotional. I don’t have that trepidation of ‘Oh, look who I’m representing.’ ”
Another major 2023 case for Lepera was the public breakup of beloved duo Hall & Oates, in which she served as Hall’s lead counsel. In the dispute, which attracted heavy media attention thanks to sealed filings later becoming public, Hall accused Oates of violating their partnership agreement by unilaterally attempting to sell part of their joint entity to Primary Wave, a prominent music company that has acquired many catalogs in recent years.
As the case unfolded, it became clear the matter was deeply personal for Hall, who in legal filings called the alleged sale by Oates the “ultimate partnership betrayal” and said it specifically had been designed to hurt him after years of worsening relations between the duo. Oates later responded by calling the accusations “inflammatory, outlandish and inaccurate” and saying that they had left him “deeply hurt.”
In late November, after a climactic court hearing in Nashville, a judge sided with Hall and Lepera, putting the Primary Wave deal on hold and allowing an arbitrator time to decide Hall’s arguments against it. The dispute remains pending.
Due to the massive media attention, Lepera says the case has been “very painful, obviously, for both of them.” Bands, she says, are “almost like family,” and when things “fall apart at the seams” after a long career, there are bound to be intense feelings for all involved. After decades of handling such cases, she says the job of a good litigator is to understand and absorb that human dynamic, but also to channel it into a winning legal argument.
“My challenge is to be there to absorb and listen to that,” Lepera says, “but also to just cut through and get to the result that’s needed.”
This story originally appeared in the March 30, 2024, issue of Billboard.
After nearly 1,000 votes cast over three rounds of voting, Billboard Pro members selected Dina LaPolt, founder and owner of LaPolt Law, for the 2024 Top Music Lawyers Power Players’ Choice Award, which honors the attorney they believe had the most impact across the industry in the past year. With multiple industry roles — on […]
These days, Coldplay approaches touring “as a traveling R&D lab,” says longtime manager Phil Harvey — and the band’s ongoing Music of the Spheres tour does feel a bit like a stadium run as science experiment. There are compostable wristbands, biodegradable confetti and stationary bicycles that fans on the floor can ride mid-set to generate power to the production’s smaller C stage.
Five years ago, frontman Chris Martin declared that Coldplay would not tour until he could ensure the act’s stadium dates would “have a positive impact” on the environment. Now, thanks to the numerous green innovations put in place since Music of the Spheres began in 2022 — including not only the aforementioned measures but also renewable-resource batteries and routing that reduced air travel — the band achieved a 47% reduction in carbon emissions for the first year of touring, with a 50% reduction goal by the time it wraps in November.
Like an increasing number of artists, Coldplay relied on a team of scientific experts to devise a plan for a greener tour that would be both mammoth (7.7 million global tickets sold to date, according to Billboard Boxscore) and meaningful. “For the number of artists that we’ve been speaking to, the interest and appetite for understanding is pretty good and has exploded over the past three years,” says professor John E. Fernández, director of the Environmental Solutions Initiative (ESI) at MIT, who helped certify Coldplay’s carbon emission results and has also worked extensively with major dance act Above & Beyond.
Trending on Billboard
The band also connected with Luke Howell — a former solar engineer who founded British sustainability consulting firm Hope Solutions and previously worked with the Glastonbury Festival. Howell and his Hope team studied the band’s previous tours “to identify key areas where we could reduce emissions,” he says, then created a range of targets, while recommending emerging green tech for the trek. “We don’t always get it right,” Harvey says of Coldplay’s ongoing efforts, “but we pass on everything we learn so that other people can do it better next time.”
Ahead of the inaugural Music Sustainability Summit, held in Los Angeles in February, the ESI announced a comprehensive study on touring’s carbon footprint, expected to be completed this summer. Recommendations will be made — although Fernández says there’s still a long way to go. “I would characterize the music industry as risk-averse,” he says. “It’s a business, and artists are trying to make a living, so we’ve seen an enormous amount of concern over the risk entailed with making a commitment to reduce emissions.”
Prof. John E. Fernández
MIT
It’s one thing for a stadium act like Coldplay to make sustainability a prerequisite for playing live, but the majority of artists don’t have that financial luxury — or even a standardized emissions benchmark to shoot for. Michael P. Totten, who has served as a climate science adviser for Pearl Jam for over two decades, says, “The biggest problem we face is that [no artist] has control over everything” — in short, even one big act can’t cut through all the live-industry bureaucracy. “You’d love to work with green arenas,” he says, “but they’re owned by somebody else, they do a ton of events, and might say, ‘You should talk to the ticket sellers.’ ”
Thus, so far, the artists who effectively make their touring practices greener tend to be those who have the means and drive to do so — and whose tours also often leave the biggest footprints. Totten points out that Pearl Jam guitarist Stone Gossard helped drive the band’s pledge of donating $200 per ton of carbon on its tours — but did so based on scientific recommendations, not any law or industrywide objective.
Marcus Eriksen, a marine scientist who has worked with Jack Johnson to spread awareness of plastic pollution in the oceans, believes that change needs to start with more major artists demonstrating their awareness of various environmental issues. “You want to find influencers — people that can reach a much wider audience,” says Eriksen, who has led several ocean expeditions intended to help educate celebrities like Johnson about how much plastic exists in large bodies of water. Such in-person experiences can, he says, help attendees recognize an urgent issue and encourage them to spread the message back on land. “Getting folks out into the field for a direct experience — that can be transformative,” Eriksen says.
While standard green guidelines may not exist yet for the live industry, Howell says he would love to see more solar and renewable energy incorporated into touring, as well as “electric vehicles and fossil oil-free fuels for all trucking and freight.” Fernández also says the music industry must remain in close contact with the scientific community about the latest climate change projections to make any real progress. “Everyone in the music industry must accept the fact that we’re not going to stay [at] 1.5 degree C average surface warming,” he says, referencing the temperature threshold that was the original goal of the 2015 Paris Agreement. “So if you’re developing a climate plan to maintain that, you’re just going to have to rewrite that plan.”
With that in mind, Fernández stresses that artists must remain open to evolving information on climate change, even at the risk of reworking preexisting sustainability pledges. “This is not unique to the music industry — what we’re seeing is that some companies have made climate commitments, they don’t feel good about the inability to fulfill them, and then they go silent,” he says. “Artists can’t go in that direction. They have to be part of inspiring people to take action.”
This story will appear in the March 30, 2024, issue of Billboard.
In the early ’00s, Adam Gardner’s home and work lives didn’t align. “We would live an environmentally friendly lifestyle at home, and then he would go off on the tour bus powered by diesel, using Styrofoam and plastic utensils, and just feeling miserable about it all,” recounts the Guster frontman’s then-girlfriend, now-wife, Lauren Sullivan. “He realized other artists were feeling the same way.”
Gardner cared about sustainability. Many music business stakeholders that he met, in touring especially, didn’t. So he and Sullivan — a veteran of environmental organizations including Rainforest Action Network — set out to redefine how the industry approaches its footprint.
In 2004, they co-founded REVERB (they’re now co-executive directors), partnering in short order with prominent eco-friendly acts like Dave Matthews Band and Jack Johnson. Twenty years on, its guiding mission remains: working with artists (its partners now include Billie Eilish, ODESZA and The 1975) and the music business to implement sustainable touring measures and to leverage the fan-artist relationship to increase engagement with environmental and social issues.
Trending on Billboard
Inspired by Bonnie Raitt — “the godmother of all of it,” as Sullivan puts it, who launched her Green Highway initiative on her 2002 tour to promote alternative energy sources while greening her own touring — Sullivan reached out to the musician’s management to gauge how the model might be applied to other tours, and it offered mentorship and initial financial support. Gardner propositioned Barenaked Ladies to test the model; the band agreed, and REVERB debuted on the group’s 2004 co-headlining tour with Alanis Morissette.
REVERB spent its early years navigating a music business that was often ambivalent about environmental issues. But as the climate crisis worsened and stakeholders saw REVERB in action, its conversations about sustainability became easier and its actions more comprehensive. Where REVERB used to be “a thorn in the side” of promoters, venues and artist teams, Sullivan explains, “it has been a sea change, 2004 to today.”
A fan refilled at a water station.
Courtesy Reverb
The nonprofit’s work falls into two broad categories: improving a tour, venue or event’s sustainability and using concerts to connect with fans about important issues. While tour sustainability has improved since REVERB launched — thanks in part to the organization itself — the former remains central to its work because most music industry stakeholders still lack the expertise to conceive and carry out green initiatives. Lara Seaver, who as REVERB’s director of touring and projects implements its strategies, describes REVERB’s suite of tour greening measures as “a menu” that teams can choose from based on a tour’s established culture. There’s “low-hanging fruit,” like eliminating single-use plastic bottles backstage, and more involved actions, like collecting a touring party’s unused hotel toiletries (which hotels often discard because they’re not tamper-resistant) and donating them to local shelters.
“What REVERB does really well is they make it turnkey to implement everything,” says AG Artists COO/GM Jordan Wolosky, who has handled client Shawn Mendes’ REVERB work. “There’s so many different moving pieces, so when you have an organization that can help you tackle a few of those pieces from the start, it’s extremely helpful.”
There’s also “not a lot of weight or responsibility put on the artist unless they really want to dive in,” says Activist Artists Management partner and head of sustainability Kris “Red” Tanner, who oversees REVERB affiliations for clients like The Lumineers and Dead & Company. “They help execute and check everything. We as the artists can say, ‘We support this, we want it to happen,’ but funnel it through [REVERB] and make sure we’re actually living up to what we’re promising.”
Critically, REVERB’s programs are tailored. “I can’t imagine saying to an artist, ‘It’s cookie-cutter, and it’s our way or the highway,’ ” Sullivan says. Some artists want to go green but aren’t sure how; others have specific environment-related priorities (one year, Dave Matthews asked REVERB to dedicate its on-site messaging to protecting rhinos), while others still tap into the climate crisis’ intersectionality by asking REVERB to coordinate advocacy for social issues (like homelessness and addiction for The Lumineers and Indigenous land rights for boygenius).
“It’s a really great, low-impact way for us to allow the artists to make an impact without a lot of heavy lifting on their side,” Tanner says. “Just using their pulpit is a great way to help spread the word.”
REVERB researches and assembles local and national nonprofit partners, which are often numerous enough to create “action villages” at events for fans to interact with; for instance, during its 2023 tour, boygenius hosted 50 nonprofits. Since forming, REVERB has facilitated 7.7 million total fan actions, which range from voter registration to utilizing the #RockNRefill program, a decadelong partnership with Nalgene that rewards donors with collectible, tour-specific reusable water bottles — and offers all fans free, filtered refilling stations. “If you have 100 people on a tour, doing everything perfectly — you have the lightest footprint tour that ever was — and you compare that with the power of 20,000 fans at one show, it’s pretty clear where the most potential for impact is,” Seaver explains.
Adam Gardner, Jack Johnson and Lauren Sullivan in 2017.
Matt Cosby
Notably, since REVERB’s inception, sustainability has moved from afterthought to priority in the industry. “Folks are realizing if these sorts of impacts are considered from the very beginning, the efficiency of these solutions goes through the roof,” says Tanner Watt, a 12-year REVERB veteran who liaises with artists, nonprofits and brands as director of partnerships. “We can usually save time and money and also increase the potential positive outcome and positive impact of these programs when we’re involved in the entire conversation around a tour or event.”
These conversations extend to venues and promoters. Mike Luba, president of Forest Hills Stadium in Queens, began a partnership between the venue and REVERB in 2017. “We followed their blueprint,” he says, and the facility became climate-positive, meaning it offsets its carbon by more than it generates. “REVERB has changed the narrative, where people now go to concerts expecting that these things are in place,” Luba continues. Some artists do, too: Neil Young, who will play two dates at Forest Hills in May, isn’t an official REVERB partner, but he has a host of green requirements for any venue he plays. When booking his shows, “if we hadn’t already checked a whole bunch of boxes, it was a nonstarter,” Luba says.
Plenty of touring frontiers remain to be conquered. Last year, REVERB launched a major initiative, the Music Decarbonization Project, to eventually eliminate the carbon emissions created by the music industry, and Sullivan cites fan travel and inefficient tour routings as areas with room for improvement. But more broadly, REVERB has already accomplished some of the most challenging work.
“We’re continuing to show venues, promoters and other stakeholders that this is feasible — fans want it, artists clearly want it,” Sullivan says. “And if the will is there, it can happen.”
This story will appear in the March 30, 2024, issue of Billboard.
When Co-op Live, the latest arena from developer Oak View Group (OVG), opens in Manchester, England, in April, it will look a bit different from most similarly sized British venues.
Inside, it will serve up an eminently modern offering: the United Kingdom’s largest arena concert capacity, an acoustically efficient infrastructure and a star-studded concert lineup including Stevie Nicks, Olivia Rodrigo and Nicki Minaj. But outside, the venue’s innovations will be most visible. Situated on the Manchester Ship Canal, Co-op Live is surrounded by a “biodiversity ring” — over 29,000 square feet of lush greenery offering a natural habitat for local wildlife and a surrounding green wall to attract bees. A mile-long pedestrian path partially along the water will encourage more environmentally friendly travel to and from the 23,500-capacity venue.
Since OVG broke ground on Co-op Live in 2021, chairman/CEO Tim Leiweke has frequently walked that route to the arena, which was built by local suppliers to reduce the transportation of materials, is entirely powered by electricity to eliminate the use of gas on site and even collects rain to water its plants and flush its toilets. “Co-op Live is going to be the most sustainable arena in the U.K. and one of the most in the world,” he tells Billboard. “It is our intent, our ambition and our commitment to be carbon neutral, but it takes a year to be certified” with an “excellent” rating from the Building Research Establishment Environmental Assessment Method, run by U.K. accreditation service BRE Global.
Trending on Billboard
A veteran of the live sector — and of innovation in arena construction, specifically — who once served as president of AEG, Leiweke is known for his enthusiasm for ambitious new projects like Co-op Live and Green Operations & Advanced Leadership (GOAL), a sustainability program developed by founding members OVG; State Farm Arena and its NBA sports tenant the Atlanta Hawks; Fenway Sports Group; and green building expert Jason F. McLennan for arenas, stadiums, convention centers and other venues. “I love GOAL. It’s the most important thing we’ve done toward sustainability,” Leiweke says. “It’s hugely important that we get other people in the industry committed to GOAL. That’s one of [OVG’s] highest priorities.”
Building Co-op Live is only the latest milestone in OVG’s commitment to creating more sustainable concert spaces that began with its billion-dollar, four-year renovation of Seattle’s Climate Pledge Arena (formerly Key Arena), which reopened in late 2021. Now OVG is working to bring sustainability to each of the more than 400 buildings it owns, operates or partners with.
“As an industry, we are a lightning rod of attention,” Leiweke says. “Can we use that platform that has such a big profile to be an example of tackling this issue and doing the right thing?”
A rendering of U.K. venue Co-op Live, where a pedestrian path encourages foot travel to the arena.
Courtesy of Oak View Group
During Climate Pledge Arena’s renovation, OVG floated its iconic roof in the air for conservation — Seattle designated Key Arena’s exterior a municipal landmark in 2017 — and overhauled the 60-year-old building to consume zero fossil fuel, use solar panels for 100% renewable energy power and employ a “Rain to Rink” system harvesting water off the roof to help create the ice for NHL tenant the Seattle Kraken. Naming-rights partner Amazon chose the new arena’s moniker, basing it on its Climate Pledge with environmental advocacy group Global Optimism. Today, it’s a zero-waste venue without single-use plastics — and was the first arena to achieve International Living Future Institute Zero Carbon Certification, meaning it’s energy-efficient, combustion-free and powered entirely by renewable sources.
After working with OVG on Climate Pledge, Amazon provided its web services software to track venue performance for sustainability measures such as energy and water use, greenhouse gas emissions and waste management. In October 2021, OVG and fellow founding members launched GOAL to provide resources to venues exploring how to operate more sustainably.
“You don’t have to be Climate Pledge Arena and chances are you won’t be, at least not at first,” says Kristen Fulmer, OVG head of sustainability and director of GOAL. “It’s important that we meet operators where they are and make incremental improvements over time.”
Take OVG’s newly built Acrisure Arena in Palm Desert, Calif., as an example. It’s surrounded by drought-resistant plants, uses electric Zambonis to maintain the ice used by AHL team the Coachella Valley Firebirds, runs on solar panels covering its parking lot and is sunk 25 feet below grade to limit exposure of its exterior facade and thus reduce its HVAC dependence. Parking lot lights are on dusk-to-dawn sensors, the venue composts, and prepaid parking reduces the time cars spend idling.
“When you open a venue that has all these elements already designed into it, [sustainability] becomes part of your daily procedure,” Acrisure senior vp John Page says. And GOAL provides a “tracking system that allows us to evaluate on an ongoing basis how we can lower our carbon footprint” and reach a target of carbon neutrality by 2025.
As with Acrisure, GOAL’s approach to sustainability often utilizes creative solutions to regional issues, a practice made easier by the data it collects from its now 50 members. (Leiweke intends to double that number by the end of 2024.) “No one does a better job than State Farm Arena on recycling,” Leiweke says. “We brought them in and said, ‘Great, write the playbook.’ And then we bring in all of the other people in our industry that we see as best in class on green and sustainability and say, ‘Great, write that playbook.’ ”
Even with its collected best practices, Leiweke says, “Amazingly, many people turn down [GOAL] because they say it will cost too much money, which is ridiculous. How much do you think it’s going to cost to replace the Earth?” It’s true that upfront costs are higher at OVG’s tricked-out-for-sustainability venues — but, Leiweke insists, GOAL’s energy tracking and operational data will prove they’re saving money in the long term. “It’s usually about how long you’re looking at the budget,” Fulmer says, “and usually it will pay for itself.”
In the meantime, there are ways to defray costs. Corporate partners, Fulmer explains, are often eager to contribute funding for environmental causes, promote their own sustainability agendas or both. GOAL helps those that want to back specific measures — say, funding a venue’s switch from plastic to compostable cups — to team up with venues in exchange for on-site branding or activations.
As artists calculate their carbon footprint for upcoming tours, GOAL venues and partners can provide numbers, as well as initiatives and proposals, to lessen a tour’s impact.
“Do I think it makes a difference that Billie Eilish is going to play my venue when she has a choice because she knows how committed we are to sustainability? 100%,” Leiweke says. “But that’s not the only reason we did it. We did it because we should all be doing this.”
This story will appear in the March 30, 2024, issue of Billboard.
On its surface, Cali Vibes seems like a normal music festival. In February, the three-day Long Beach, Calif., event held its third annual edition, welcoming 20,000 fans per day with a bill topped by Gwen Stefani, Stick Figure, Slightly Stoopid and Rebelution. But a closer look reveals quiet innovation. Attendees drink from reusable plastic cups instead of single-use ones. Solar panels power the artists lounge. Staff members posted at each garbage station advise guests on whether waste should be thrown away, recycled or composted. Excess food is donated to local shelters.
The festival is a fun time — and a testing ground for sustainability initiatives that may eventually be used throughout the live sector. In 2023, Goldenvoice parent company AEG Presents designated Cali Vibes as an incubator to pilot green measures with the hope of expanding them across AEG’s festival portfolio. Cali Vibes designed its program in partnership with Three Squares, a Los Angeles-based environmental consulting firm.
Trending on Billboard
“Environment is part of the DNA of the festival,” says Goldenvoice vp of festivals Nic Adler, who in his position oversees California festivals including Cali Vibes, Cruel World, Just Like Heaven, Portola, Camp Flog Gnaw and Goldenvoice’s other “non-desert” (i.e., not Coachella or Stagecoach) events, which all typically draw between 20,000 and 30,000 fans per day.
“Cali Vibes is definitely the greenest one,” says Adler, who also helps book the shows, which focus on reggae, roots rock and hip-hop. “It’s harder to do something on the scale of 125,000 people a day [like Coachella or Stagecoach] versus 30,000, so the festivals we oversee are testing grounds for our larger events.
“We’re all aware that bringing 50 truckloads of stuff and 50,000 people to a site is not sustainable,” he continues. “But there’s a way to go at it where everybody does better.”
Goldenvoice doesn’t promote Cali Vibes as a green festival — but it certainly could. That starts with how fans reach the festival grounds at Long Beach’s Marina Green Park. Cali Vibes promotes public transit use by offering attendees free or discounted rides through a partnership with L.A. Metro and electric scooter company Bird. (Scientists cite the emissions from fan travel as the single biggest challenge in greening concerts.) This year, most Cali Vibes transport vehicles were electric. While the festival can’t control how artists arrive at the site or how the event’s equipment is delivered, its “no idling” rule reduces emissions by requiring cars and gas-powered golf carts to be turned off when not in motion. Adler says the rule will likely be implemented at Coachella 2024.
Reusable cups from r.Cup were the rule.
Nicolita Bradley
Elsewhere, festival signage is made from wood so it can be reused, while thousands of square feet of plastic banners at stages are taken by upcycling company Rewilder after the event wraps and sewn into tote bags and backpacks sold at the following year’s merchandise stand. Unsold merch is refashioned into staff uniforms. This year, the festival’s reusable cup program, r.Cup, had an 81% return rate, which translated to the elimination of 300,000 single-use plastic cups. Water is served in aluminum cans, and refill stations are located throughout the event. Each ticket includes a $5 sustainability charge — Adler says it helps fans “feel like they’re participating” — which is split between greening festival operations and nonprofits including Surfrider Foundation and Plastic Pollution Coalition; Cali Vibes has donated $130,000 since the program’s inception.
Such forward-facing initiatives are crucial, Adler explains, because “festivals are inherently discovery-based in terms of new music, new people, new food” and can instill new habits that might stick with attendees. “We are an example,” he says, that could inspire fans to get their own reusable cup, learn to compost or go vegetarian.
Roughly 20% to 30% of food vendors at Goldenvoice festivals are vegan, with all vendors required to offer at least one vegetarian option. When Morrissey and Siouxsie Sioux headlined Cruel World in 2022 and 2023, respectively, both artists required that meat not be sold, resulting in roughly 80% vegan options — and demonstrating the power artists have to demand sustainability initiatives. Meanwhile, festival staff collect and compost food waste from vendors and divert excess food to local nonprofits and homeless shelters.
Beyond the solar-powered artists lounge — which Adler says has become a point of pride even if it isn’t “that great-looking” — the fest has shifted to clean energy in several areas, including solar-powered light towers in parking lots, merch stations and bathroom zones, and battery-powered LED lights in some locations. In 2023, the use of renewable diesel in generators and heavy equipment eliminated 43 tons of carbon emissions.
And since festival greening often means entering unknown territory, Adler says his team “spends a lot of the year going to random parking lots to meet someone to test a solar battery. We’ve seen more things we don’t like than things that will work, but that’s the process to find the right products.”
Staffers served as garbage station guides.
Juliana Bernstein
When it comes to green initiatives, Adler thinks the live sector is “crossing the threshold.” As sustainable technologies become more widely available and adopted, “the more prices are going to come down, so more festivals will want to use solar batteries or electric vans. The minute [the costs] start affecting the bottom line in a positive way, there’s going to be a full push for all of this.”
That hasn’t happened just yet, but even so, Adler can’t “recall a time in this business where it has been easier to use these alternatives.” He predicts that in five to 10 years, green energy tech will be established and affordable enough for producers to feel confident using it for large-scale stages and other major energy use points.
But for Adler, the goal is not necessarily to create a zero-emissions festival — “If you restrict it too much, people might not come back” — but instead an enjoyable, inspiring environment that implements and showcases ever-improving sustainability components and which vendors, artists and fans are happy to return to.
“You must create the opportunity for people to do the right thing,” he says. “That’s what our team is focused on the most: Have we created enough opportunities for people to participate in doing better?”
This story will appear in the March 30, 2024, issue of Billboard.
For decades, festivals have created weekendlong oases for music fans — and left a mind-boggling amount of waste in their wakes. But as artists and fans increasingly learn about their impact on the environment, eco-minded — and creative — organizers have started pushing to make festivals greener.
Whether headliner- (solar power) or supporting act-size (“Pee into tea,” anyone?), their ideas are making the live space more sustainable. Just imagine if they could all happen in one place. Below, Billboard digs into a look at the eco-friendly festival of the future.
Catch Some Rays
Illustration by Sinelab
Most festival stages are powered by generators burning diesel fuel, but advances in solar technology now make it possible to store and generate enough power to meet a major festival’s heavy energy needs. Late last year, Massive Attack announced Act 1.5, the first 100% solar-powered festival in the United Kingdom, with the help of solar panels and battery packs that store sufficient energy on site without needing diesel generators.
Trending on Billboard
It Takes a Village
Illustration by Sinelab
Tennessee’s Bonnaroo offers fans interested in sustainability a dedicated place at the festival to organize and learn about new green efforts proposed by its nonprofit division, Bonnaroo Works Fund. That includes the Roo Works cafe, where green entrepreneurs can pitch their ideas in a group setting; a nonprofit village where patrons can interact with green groups; a “learning garden” highlighting sustainable farming practices; and a volunteer program called Rooduce, Roouse and Roocycle.
Keeper Cups
Illustration by Sinelab
Single-use beverage cups are a major source of festival landfill waste. Companies like r.Cup have begun working with major promoters like Goldenvoice to switch to washable, reusable cups, which are collected each night and washed at a local cleaning center. In 2023, r.Cup’s program diverted 1.1 tons (roughly 30,000 cups per day) of waste from local landfills.
Plant Seeds of Change
Illustration by Sinelab
To offset the carbon dioxide emissions of large events, promoters are increasingly planting trees and creating forest reserves. Groups like the European Festival Forest focus their offset efforts in certain regions of the globe, like Iceland, while other organizers plant and restore forests at festival sites for future concertgoers’ benefit.
Making (Vegan) Concessions
Illustration by Sinelab
In 2022, Goldenvoice’s Cruel World Festival in Pasadena, Calif., launched the largest vegan and vegetarian dining pavilion for any festival west of the Mississippi, with 10 vegan and 20 vegetarian vendors offering items like maneatingplant’s vegan bao buns, dairy-free milkshakes from Monty’s Good Burger and plant-based sushi burritos from Oona Sushi.
Water Works
Illustration by Sinelab
Last year, Amsterdam’s DGTL festival launched an initiative to protect the site’s limited groundwater supply — it’s located within an industrial port in the city — by partnering with local sanitation companies to, well, “make tea out of pee.” By harnessing the same water purification technology that’s used to convert wastewater in space, DGTL created water reuse applications that will likely be expanded in the future.
Wipe Deforestation Out
Illustration by Sinelab
Festivals like Lollapalooza and Outside Lands have switched to bamboo-based toilet paper this year, not because of the material’s post-flush qualities but to help curb deforestation. Bamboo grows much faster than trees cultivated for paper products, and activists see it as a possible long-term solution to the developing world’s need for lumber, which is increasing in price as deforestation continues.
Start a Movement
Illustration by Sinelab
For its Music of the Spheres tour, Coldplay deployed a kinetic dancefloor, harnessing the crowd’s movement to activate LED lights and other visuals — and to generate electricity that was then routed to power elements of the production. On the tour, custom-made Energy Centers were also assembled in a circle for fans to generate energy by riding stationary bikes.
Wrist Watch
Illustration by Sinelab
Light-up wristbands are now common audience accessories on major tours (and at some festivals), though some activists worry about the waste they create. For its Music of the Spheres tour, Coldplay partnered with Canadian company Pixmob to make biodegradable light-up wristbands — the first of their kind — from compostable plant-based plastics. Now Pixmob only makes biodegradable wristbands, having done so for events like the Super Bowl and the Olympic Games and tours by Taylor Swift and Imagine Dragons.
This story will appear in the March 30, 2024, issue of Billboard.
On February’s Top Tours list, U2 is in the winner’s circle with monthly earnings of $56.5 million from 166,000 tickets sold.
February is U2’s first month at No. 1, after sitting at No. 2 in December of 2019 and 2023, both behind Trans-Siberian Orchestra. This marks the first Irish act to claim monthly honors.
Since launching in 2019, the monthly Boxscore recap has detailed touring breakthroughs, particularly in country and Latin music — highlighted by Morgan Wallen and Bad Bunny, respectively — as well as reporting quirks along the way, including Trans-Siberian Orchestra’s dual coastal ensembles during the holiday season. The latest oddity: U2’s recent domination makes the band the first act to lead Top Tours without actually going on tour.
The group’s haul north of $50 million comes from 10 shows, all at Las Vegas’ Sphere. The rock quartet christened the Sin City arena with the first show from its U2:UV Achtung Baby Live residency in September, and to date, is still the only act to play at the venue. Concert series by Dead & Company and Phish are scheduled for later on Sphere’s 2024 calendar.
Residencies at this scale – 40 arena shows in six months – are unprecedented. Prior to U2’s kickoff, Lady Gaga and Bruno Mars were the only residency acts to crack the top 10 of Top Tours. The traditional Vegas model is for acts such as them to play sold-out theaters to roughly 5,000 fans each night, with the flexibility to charge extravagant prices for the opportunity to see an A-list artist in a more intimate setting.
U2 is playing by similar rules, with its $340 average ticket within 5% of Mars (No. 19), but expanded to an arena audience. Demonstrating the same intensity of demand as theater residencies but broadened to an audience three times as big, U2’s monthly victory, ahead of stadium tours at Nos. 2-3, is groundbreaking.
With all that activity from one arena, U2 also crown Top Boxscores, with Sphere reigning as the month’s top-grossing venue. Both victories were decisive, by a margin of more than 3:1.
U2’s recent run began on Jan. 26 and stretched through March 2, earning $84.7 million during that period. Dating back to opening night (Sept. 29, 2023, and through its close on March 2), the U2: UV Achtung Baby Live residency brought in $244.5 million and sold 663,000 tickets over 40 shows.
That is the lowest show count – by far – for any residency with a gross of $100 million or more. Mars and Billy Joel (Madison Square Garden) are the only others with a nine-digit gross and fewer than 100 shows.
Former chart-topper P!nk is No. 2 on Top Tours with a $48.3 million gross. Shows from the Australian leg of the Summer Carnival Tour sold 437,000 tickets in February, marking the highest attendance total of the month. This is P!nk’s third time at No. 2, following stints in April 2019 and August 2023, adding to her three months at No. 1 (March 2019, July 2019, October 2023).
Oceania brought in more revenue than North America or Europe on P!nk’s I’m Not Dead Tour (2006-07), the Funhouse Tour (2009) and The Truth About Love Tour (2013-14). Her recent leg, stretching through March 23, marks her first time in stadiums in Australia and New Zealand, having made the outdoor transition elsewhere on the Beautiful Trauma World Tour (2018-19).
Including her March dates, P!nk’s 20 continental shows grossed $104.3 million and sold 980,000 tickets, bringing the tour’s total to $361.8 million and 2.8 million tickets. With more dates scheduled in the U.S. and Canada, and Europe through November, the Summer Carnival will easily become P!nk’s first to cross $400 million. The Beautiful Trauma World Tour came agonizingly close when it wrapped in 2019 with $397.3 million.
Karol G follows at No. 3, leading a trifecta of Latin stars in the top 10. Luis Miguel sits just beneath at No. 4, and Bad Bunny rounds out the group at No. 10. Across shows in the U.S. (Bad Bunny), Mexico (Karol G) and South America (Luis Miguel).
Stars of the 21st century fill out most of the rest of the top 10, with Madonna, Depeche Mode, Blink-182 and the Eagles filling out Nos. 5 and 7-9, respectively. Ed Sheeran rounds out the top 10 at No. 6 as the last of six $30 million tours from February. Emerging from the slow winter months, the last time more acts crossed the $30 million threshold was August, when Beyoncé led P!nk, Metallica, Morgan Wallen, The Weeknd, Drake and the Jonas Brothers.
Behind Sphere as the month’s top venue, London’s O2 Arena and Sydney’s Qudos Bank Arena bring the U.K. and Australia to the top of the heap at Nos. 2-3, respectively, peppered by Melbourne’s Rod Laver Arena at No. 6 and Manchester’s AO Arena at No. 7.
A version of this story will appear in the March 30, 2024, issue of Billboard.
Long before Billie Eilish became a global superstar, she says she was “notorious” among her friends for something else entirely. “When I would get a present, I would carefully undo the tape and carefully unwrap it and not let it rip and I would fold it up so that it could be reused — I didn’t want to destroy it,” she says with a sincere chuckle.
In the eco-conscious house where Eilish grew up, everything — wrapping paper included — was treated as reusable. In 2012, with the help of a government rebate program, the family transitioned its Los Angeles home to run on solar power. And, in 2014, Eilish’s parents, Patrick O’Connell and Maggie Baird, removed the grass from their front yard to save water. “Those were big moments for us,” Baird recalls. “We were excited.”
When Eilish, then in her early teens, started taking label meetings in 2016, her mother came along for the ride — for myriad business reasons, including keeping sustainability at the forefront of her daughter’s career. Baird recalls “begging” labels to provide more information about their environmental initiatives and policies, and often wondered why she and her teenage daughter were the ones who had to raise the issue in the first place. (Eilish signed with The Darkroom in 2016, an imprint of Universal Music Group subsidiary Interscope Records.)
Trending on Billboard
Today, Eilish and Baird are still talking about the environment — to much larger audiences than they were nearly a decade ago — while also leading the charge for the future of sustainability in music. In 2020, Baird founded Support + Feed, which aims to mitigate climate change and increase food security by encouraging the acceptance and accessibility of plant-based food, including at large-scale events like concerts. Eilish partnered with the organization on her 2022 Happier Than Ever tour, which, according to REVERB, a nonprofit dedicated to addressing environmental concerns in the music business, saved 8.8 million gallons of water by serving plant-based meals for the artists and crew.
And last year, Eilish helped launch and fund REVERB’s Music Decarbonization Project, which aims to ultimately eliminate carbon emissions created by the music industry. As part of the initiative, she partially powered her headlining set at Chicago’s Lollapalooza last summer with zero-emissions battery systems that were charged on a temporary “solar farm” set up on site. (In 2024, Willie Nelson’s Luck Reunion festival partnered with REVERB for a second consecutive year to power its main stage with 100% solar energy all day.)
Eilish’s sustainability efforts go far beyond her touring. In 2022, she worked with Nike to redesign the brand’s iconic Air Force 1 shoes to be vegan using vegan nubuck leather made with 80% recycled materials and 100% recycled polyester. More recently, in October she starred in a Gucci campaign that featured its classic 1955 Horsebit bag in Demetra, a vegan alternative to leather made from 75% plant-derived raw materials — a first for the brand.
“Yeah, we’re all going to die soon,” Eilish says matter-of-factly. “But we can try our best.”
Billie Eilish (left) and Maggie Baird at Overheated in 2023.
Jessie Morgan
Growing up, why was sustainability such a priority for the family?
Billie Eilish: It wasn’t even something I really thought about; it was such a normal thing. My mom started making these bags in these different types of beautiful fabrics and ribbons, and that’s how all of our presents were wrapped for Christmas and my birthday. When I would have parties, friends would come over and bring me presents in wrapping paper and I would be like, “Ew, this is so ugly.” We always used dish towels instead of paper napkins — everything was reusable, truly. And I didn’t even know it was weird. When I started dating, the people I was dating would be like, “Do you have any paper towels?”
Maggie Baird: You’re four-and-a-half years [younger than your brother], Finneas… [he] remembers [the] transition more. We always joke that my kids grew up in the house where you got the stink eye if you came in with a plastic bag or if you wasted anything.
Eilish: I even think to a fault sometimes, I’m so unable to just throw things away in the trash. If I get food out with a friend I literally have to separate everything. Like, it’s genuinely annoying. I wish I just didn’t care and could throw it all in the garbage and that could be the end of it.
When Billie was starting out, were there any blueprints for making a music career sustainable or were you making your own?
Eilish: There’s always somebody that paved the way for you, but I got to be real: It was bleak out here. We would be in meetings for things and my mom would [ask], “What are you guys doing to be more resourceful and conscious?” And they’d be like, “Oh, uh, well, you know…” They’d be tripping and stumbling over their words because they’re not doing anything. And it was kind of alarming to find that no one’s really doing anything to better the world. And the problem is, us people living in the world with no power — “us” in terms of anybody — we’re all like, “Oh, don’t use plastic straws. We’re going to use horrible, soggy paper straws to save all the turtles. And we’re going to get electric cars. And we’re going to not use blow dryers,” or whatever it is to save the planet. And then these giant companies are not even doing anything when they have so much more power. We’ve had a lot of conversations and people are trying, but even when they’re trying, they’re like, “Oh, yeah. We’re going to have that in 2026.” And you’re like, “Well, that’s not fast enough.”
Baird: It did feel bleak and very lonely in the beginning. When you’re a smaller artist and you don’t have any power and you don’t have any money, you just find yourself going, “Wait, why do we have all this plastic backstage?” Or, “Why are we driving this way?” Or, “Why are we doing this?” And the answer was, “Well, that’s just the way it’s done.” What really helped me was somebody said, “You need to talk to [Coldplay’s] Chris Martin.” They connected me on a call with Chris, which was amazing. Then Chris connected me to REVERB, and REVERB was a real game-changer for us. They had the ability to help us know what to change and how to communicate.
Do you recommend REVERB to new artists looking for sustainability solutions?
Baird: They do have resources for newer artists because in the beginning, you can’t really afford things and you may not be playing in venues that have a lot of flexibility. There’s a lot of organizations working in this space: Music Sustainability Alliance, Music Declares Emergency. If artists are interested, it does really start with them telling their teams that they care and that it’s foremost in their thoughts. From the beginning, it was about constantly asking questions until people [got] you the answers.
We, as a plant-based family, had all these catering conversations and it was not until Lesley [Olenik, vp of touring at] Live Nation was like, “Well, it sounds like you’d like all plant-based food.” We were like, “Can we do that?” And she was like, “Erykah Badu did.” It’s kind of just knowing what other people are doing. We do have green riders [for] dressing rooms, video shoots and photoshoots. I think those are really, really helpful and highly shareable.
Which of your strides in sustainability are you most proud of?
Eilish: The one that was seen by the most people was getting Oscar de la Renta to stop using fur when they made me a dress for the Met [Gala]. That was really important to me. It’s tough as a person who loves fashion. I’ve tried to be a big advocate of no animal products in clothing and it’s hard. People really like classic things. I get it, I’m one of them. But what’s more important: things being original or our kids being able to live on the planet and them having kids?
Baird: Also, the solar set at Lollapalooza was a huge moment. And Billie also made it possible for us to create two climate summits in London for her fans, Overheated, [which was held in 2022 and 2023]. Getting [London’s] O2 Arena to go fully plant-based for six shows [in 2022] was a monumental feat, and getting plant-based food in every arena on her [Happier Than Ever] tour was amazing. There’s so many amazing wins that Billie herself probably doesn’t even know. I think that the artist’s role is to champion [something] and say that’s what they want, what they believe in and [that they] want to make it happen. It’s the power that they have to say, “This is important to me, and it has to be a priority.”
Billie Eilish (left) and Maggie Baird onstage with panelists at their Overheated climate activism event in London in 2023.
Jessie Morgan
Have you seen labels make sustainability a priority?
Baird: I will say happily that Universal has really come a long way. We had three Universal Music Group Sustainability Summits last year, one in London, one in L.A., one in New York with just UMG employees talking about all the various issues. I used to be like, “Why are we the ones doing this?” Like, why is a 15-year-old girl and her mom talking about this? Why aren’t you telling us, why don’t you have all the advice on this? But gradually they have started to, which I think is really encouraging.
When it comes to pushing for impact over profit, have you experienced any friction?
Baird: Merch becomes a real issue. We look at sustainability in every single aspect: vinyl, packaging, transportation, food. But with merch, Billie is very particular about what her merch looks like.
Eilish: It’s about how it feels and how it looks and how it’s made. And so the problem is to make sure that my clothing is being made well and ethically and with good materials and it’s very sustainable and that it feels good and is durable. It’s going to be more expensive and that’s the thing: People can be upset by that. But I’m trying to pick one of two evils.
Baird: And Billie reduced the number of drops she does. Like, she just literally doesn’t sell as much merch.
Eilish: Sometimes people have the idea of when things are more ethical, they’re more expensive, and so it’s harder to be plant-based or environmentally conscious if you don’t have as much money. That’s the whole system we live in, of like, if you have less money then you have less resources [for] healthier food… And so what we’re trying to do is make it more universally accessible.
You’re working to make vinyl more sustainable. Happier Than Ever came in eight vinyl variants, but you use 100% recycled black vinyl — plus recycled scraps for colored variants — and shrink-wrap made from sugar cane.
Eilish: We live in this day and age where, for some reason, it’s very important to some artists to make all sorts of different vinyl and packaging … which ups the sales and ups the numbers and gets them more money and gets them more…
Baird: Well, it counts toward No. 1 albums.
Eilish: I can’t even express to you how wasteful it is. It is right in front of our faces and people are just getting away with it left and right, and I find it really frustrating as somebody who really goes out of my way to be sustainable and do the best that I can and try to involve everybody in my team in being sustainable — and then it’s some of the biggest artists in the world making f–king 40 different vinyl packages that have a different unique thing just to get you to keep buying more. It’s so wasteful, and it’s irritating to me that we’re still at a point where you care that much about your numbers and you care that much about making money — and it’s all your favorite artists doing that sh-t.
Baird: But to be fair, the problem is systemic, right? Because if Billboard, to be honest, is going to not have limits… I would love to see limits, like no more than four colors. Or some kind of rules, because you can’t fault an artist for playing the No. 1 game.
Eilish: I was watching The Hunger Games and it made me think about it, because it’s like, we’re all going to do it because [it’s] the only way to play the game. It’s just accentuating this already kind of messed up way of this industry working.
How have the industry and fan responses to your efforts shifted over the years?
Baird: You have this amazing power when you’ve got 10,000 to 20,000 people in a venue to see you, who get to hear from you, what you believe in and how you’re trying to change. That fan interaction is incredibly important. If you can educate them to know you can bring your reusable water bottle in and there will be water-filling stations, and there will be plant-based food and it will not be more expensive, and [to think about] how you get to the show and back — which, as we know, the biggest carbon cost is fan transportation. Then we’ve got to get the arena to understand people want these things.
We know from research that fans are more likely to take action if they believe the artist is authentic. Which I think unfortunately scares off a lot of artists because they’re like, “Well, I don’t want to say I’m trying to do X because I’m not perfect on Y.” That’s a barrier that is really challenging to break, especially with social media and the culture of cancel and hate. The truth is, you just have to do it anyway. Artists can cast a giant shadow of influence. If you’re not perfect, but you are influencing many, many, many people to do better, it’s multiplied hundreds of times.
Is there any other part of your career, Billie, that isn’t yet where you would like it to be in terms of sustainability?
Baird: You experienced major touring weather events in 2022 and 2023. We were in an extreme weather event in Mexico City that canceled the show and was quite dangerous. We’ve been in horrific heat. We’ve been in horrific smoke from fires. It’s just a reality of the business, and people have to start to take seriously that this is the biggest threat to touring.
Eilish: It’s a never-ending f–king fight. As we all know, it’s pretty impossible to force someone to care. All you can do is express and explain your beliefs, but a lot of people don’t really understand the severity of the climate [crisis]. And if they do, they’re like, “Well, what’s the point? We’re all going to die anyway.” Believe me, I feel that way too. But “what’s the point” goes both ways: “What’s the point? I can do whatever I want. We’re all going to die anyway.” Or, “What’s the point? I might as well do the right thing while I’m here.” That’s my view.
This story will appear in the March 30, 2024, issue of Billboard.