sustainability

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.

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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.

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.

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“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.