How musicians and concert venues are upping the tempo on climate action

It’s less than an hour before the Dave Matthews Band takes the stage on a sunny Thursday evening on the coast of Long Island — but the biggest crowds at the Northwell at Jones Beach Theater aren’t at the tequila bar. They’re in the “eco-village” operated by Reverb, a nonprofit focused on greening live music by inspiring fans to take action around climate change. 

As I wander through tents emblazoned with the logos of organizations like the Nature Conservancy and Generation180, volunteers explain how fans can reduce their carbon footprints and join the clean energy transition. The longest line emanates from Reverb’s flagship tent, where batches of limited-edition blue-and-yellow Nalgene bottles hang from tent poles like so many coconuts from a grove of palm trees. 

Fans acquire the bottles by making a $20 donation, which enters them into a raffle to win a guitar signed by Matthews; they can fill their bottles at a nearby filtered water station. It’s all part of “RockNRefill,” a partnership between Reverb, Nalgene, and the Nature Conservancy. The program has raised $5 million for climate and conservation nonprofits and eliminated an estimated 4 million single-use plastic bottles. 

“It’s cutting down on single-use plastics, so we hope everybody takes a bottle home or brings it back to another show,” says Dan Hutnik, Reverb’s onsite coordinator. “We’re trying to help save the planet — I like to say, one water bottle at a time.” (I bought one of the Nalgenes, but didn’t win a signed guitar.)

With this year’s summer touring season in full swing, the Dave Matthews Band’s efforts are just one example of the increased focus on sustainability in live music over the past several years. Decades after trailblazers like Bonnie Raitt began to prioritize climate, more and more artists are embracing sustainability and pushing for change — both inside and outside the industry — with the help of organizations like Reverb. 

Founded in 2004 by environmentalist Lauren Sullivan and her husband Adam Gardner, a guitarist and vocalist of the alt-rock group Guster, Reverb has become a leading force in greening live music. The nonprofit sends staffers like Hutnik out on the road with acts from Matthews to Billie Eilish, setting up eco-villages and organizing volunteers. Reverb staffers serve as the bands’ de facto sustainability coordinators, allowing initiatives like RockNRefill to be scaled up, rather than every artist having to build something similar from scratch.

Reverb also coordinates with concert promoters and venues, which have their own sustainability teams and programs. As part of the recent renovation of Jones Beach, for example, Live Nation added a sorting facility out back where employees handpick recyclables and compostables out of the garbage. The company’s Road To Zero campaign, a partnership with Matthews, diverted 90 percent of landfill-bound waste at the majority of the band’s shows last summer.

Live music has grown immensely since the pandemic — the top 100 tours grossed roughly $10 billion last year, nearly double what they reached in 2019. (For various reasons unrelated to climate, the 2025 number will likely be lower.) 

If abandoning climate projects is the new normal in our current political moment, the music business hasn’t gotten the memo. According to a recent Reverb study, 9 out of 10 concertgoers are concerned about climate change and are prepared to take action — and artists are ready to lead the way.

“As more and more artists are asking for the same things, it makes sense for these venues to make it a permanent change and not something where they just say, ‘OK, put away all the Styrofoam and all that crap, we’ll save it for the next band,’” said Gardner. “And that’s where the power really starts coming into play.”

Five days after Donald Trump’s second inauguration, Coldplay played the biggest — and almost certainly the most overtly eco-friendly — stadium show of the 21st Century. A crowd of 111,000 streamed into Narendra Modi Stadium in Ahmedabad, India, to see the latest stop on the band’s Music of the Spheres Tour. Coldplay has grossed nearly $1.3 billion in the first three years of the tour, making it the second-most lucrative of all time behind Taylor Swift’s Eras Tour. 

Coldplay has notched quite a few firsts on the climate front. After the group’s 2016-2017 tour, front man Chris Martin and his bandmates were so concerned about their carbon footprint that they took a break from the road until they could forge a more sustainable path. They eventually began planning the Music of the Spheres Tour with a pledge to reduce CO2 emissions by 50 percent compared to their last tour, and to hold themselves accountable with transparent reporting.

Coldplay committed to offsetting unavoidable emissions as responsibly as possible, drawing on the Oxford Principles for Net-Zero Aligned Carbon Offsetting, a guide that aims to ensure the integrity of carbon credits. The group has also used a portion of its tour proceeds to support new green technologies and environmental causes. Above all, the band wanted to push the envelope industry-wide with a sustainability rider — a set of requests that artists make as a condition for performing — covering everything from venues’ power connections to free water for fans.

Concert promoters are accustomed to accommodating all manner of demands on big acts’ riders (ranging from peppermint soap to actual kittens) and have proven open to doing the same for climate initiatives.

“Any artist could add sustainability considerations to their rider and try to influence promoters and venues to do things in a lower-impact way,” said Luke Howell, the band’s head of sustainability. “While not all artists can change how a venue operates at the macro scale, they can all ask for no single-use plastics, more veggie options on menus, or make sure the kit they are using is efficient and specced correctly to minimize energy use. And they can all engage their fans.”

To that end, while operating at a scale that few other acts can approach, Coldplay has introduced a bevy of novel green touring concepts. The band partnered with BMW to develop the first mobile show battery, which can power 100 percent of a concert with renewable energy. These clean sources include solar panels that come along for the ride, as well as power-generating bicycles and kinetic floors that quite literally draw energy from dancing fans.

Coldplay, of course, isn’t the first group to care about its impact on the planet, or try to reduce it. Environmental activism in the modern pop music world dates back more than half a century to conservation-focused songs like Joni Mitchell’s “Big Yellow Taxi” and Marvin Gaye’s “Mercy Mercy Me (The Ecology).” 

Similarly, early benefit concerts — many organized by late folk singer Tom Campbell — focused on causes like protecting forests in the Pacific Northwest. After Bonnie Raitt and Jackson Browne played one such show in Oregon, their crews needed a police escort out of town to stave off a convoy of chainsaw-wielding loggers.

As the science around global warming went mainstream at the turn of the millennium, artists turned their focus toward climate change. Raitt’s 2002 summer tour launched Green Highway, a traveling eco-village where fans could learn about environmental issues and check out the newest hybrid vehicles from Honda. She and her manager, Kathy Kane, convinced tour bus companies to let them power their vehicles with biodiesel, booking the tour well in advance so as to route buses efficiently instead of wasting fuel hopscotching the country. 

At every venue, Raitt’s rider called for replacing disposable silverware with real cutlery, and she began bringing her own water bottle refill stations to reduce backstage plastic use. If there wasn’t a proper recycling system on-site, the crew would bring paper scraps on the bus and dispose of them properly in the next town. And Raitt inspired a new generation of artists who were concerned about live music’s environmental footprint.

“All I had to do was look at the ground when the lights came up at the end of the show to see all the plastic,” said Guster’s Gardner. “I just didn’t feel good about it.”

His wife, Lauren Sullivan, was working for the Rainforest Action Network when a venue refused to let them set up a table at a Dave Matthews show. Apparently, the nonprofit had been rallying against old growth woodcutting practices of one of the venue’s major sponsors. When Matthews threatened to skip the gig, the venue relented. 

The episode inspired Sullivan to team up with her husband to channel the power of live music into climate action. Sullivan reached out to Raitt, who was on the Rainforest Action Network’s board, and learned that the touring gear from Green Highway was in storage. Raitt offered it up — and pledged to incubate Sullivan’s project via her own nonprofit, until Reverb was officially launched in 2004.

Sullivan and Gardner wanted their new nonprofit to be an organization that all acts could use to make their tours greener. In their vision, fans walking into any venue would be greeted by a Reverb volunteer wearing a band-branded T-shirt, ready to engage on environmental issues. Concertgoers would be incentivized to take action — like reducing their own carbon footprint or pushing elected officials to enact eco-friendly legislation — with chances to win goodies like ticket upgrades and signed instruments. 

On the artists’ side, Reverb helped institutionalize practices that not only reduced waste, but saved dollars — like replacing single-use batteries with rechargeable battery packs for performers’ in-ear monitors. Over time, due to artist demand, these rechargeable packs became the norm.

It turned out that, when big acts demanded a certain standard of sustainability, the live music industry was willing to make meaningful changes. Adam Met, from the alt-pop band AJR, remembers realizing this while planning a tour five years ago and asking venues to eliminate single-use plastics.

“Every place we went, the venue [employees] said, ‘Oh, like Jack Johnson,’” recalled Met, who now serves on Reverb’s advisory board. “That was the artist bringing the requests to the table, and an organization like Reverb.”

As the nonprofit grew, one challenge was broadening its reach beyond alt-rock, whose artists and audiences skew heavily white, male, and middle-aged. To that end, Reverb worked increasingly with emerging artists to help them weave sustainability into their touring process from day one.  

Perhaps the best example is Billie Eilish, who started teaming up with Reverb six years ago when she rose to stardom with her 2019 album “When We All Fall Asleep, Where Do We Go?” On her 2022 Happier Than Ever Tour, Reverb helped her eliminate 117,000 single-use plastic bottles, save 8.8 million gallons of water, and push venues to offer plant-based meals — for the same prices as meat-based meals. She also introduced the pricier Changemaker Ticket, with proceeds supporting climate projects. Eilish even fueled her 2023 Lollapalooza set with solar-backed batteries.

Other young artists have also joined the movement. Last year, for the first time, solar panels fueled the batteries behind festivals in the world of country music (Tyler Childers’ Healing Appalachia) and hip-hop (Tyler, the Creator’s Camp Flog Gnaw). And concert promoters continue to step up to meet artist and fan demand. In 2022, Live Nation invested in Turn Systems, purveyor of a leading reusable cup setup; earlier this month, AEG hosted its first solar-backed battery-powered festival.

“As touring infrastructure becomes normalized where we don’t have to go out of our way to bring along our reusables and compostables, it’s just part of what’s happening at those venues,” said Gardner. “If that becomes the new normal, then there’s massive savings there, both with carbon and with dollars.”

On a bright Monday morning, I was walking through Central Park with AJR’s Met — discussing the future of green touring — when, appropriately, we happened upon the seasonal amphitheater at Rumsey Playfield. Perched on a hill overlooking Bethesda Fountain, it has hosted acts ranging from Pitbull to the Barenaked Ladies. The venue is largely constructed with repurposed shipping containers.

“So the infrastructure itself is already reused, which is great,” said Met, who then wondered aloud how this sort of space could be used during the venue’s downtime — perhaps as a seasonal solar farm. “There are all of these different ways to think about how to use the venue itself as a producer for sustainability initiatives.”

For Met, though, what’s even more powerful is the collective ability of fans to mobilize around the causes championed by their favorite artists. That’s the focus of his new book, Amplify: How to Use the Power of Connectivity to Engage, Take Action, and Build a Better World. 

He believes that, with a little encouragement, audiences can be particularly potent around local causes. For example, during last summer’s AJR tour stop in Phoenix — where temperatures reached 109 degrees — thousands of fans signed petitions to FEMA asking the agency to designate extreme heat as a type of emergency, thereby unlocking additional funds for response. In Salt Lake City, concertgoers phone-banked around increasing the Great Salt Lake’s water levels because of the economic benefits it provides to seven different states; Met noted that each state later voted for progressive climate policies, even the ones that went for Trump.

This sort of activity might strike some as preachy, but it turns out most fans don’t mind. According to a survey of 350,000 concertgoers organized by Met’s nonprofit, Planet Reimagined, most fans encourage it. A full 70 percent of respondents said they had no problem with musicians publicly addressing climate change; 53 percent believed artists had an obligation to do so.

Perhaps the most important thing an artist can do on the climate front is spotlight the collective carbon footprint of concertgoers — a facet that has more to do with advocating for a greener society than a greener music industry. As part of its Music Decarbonization Project, Reverb recently released a concert travel study that found the average amount of CO2 emissions generated by the thousands of fans getting to a given show is 38 times larger than that of the typical act — including artist and crew travel, hotel stays, and gear transportation. 

That makes sense: 80 percent of fans at the average show arrive in a personal vehicle, usually gasoline-powered. Yet the study also found that fans are hungry for greener ways to attend concerts — 33 percent would prefer to use public transit, but only 9 percent say they can and do.

Rock stars can’t make cities build more subways. But they can work with municipalities to run more routes on show nights, and keep trains and buses open later than usual. They can also team up with businesses like Rally and Uber that can offer deals on group shuttles. That’s something Raitt and her peers never had back in the day.

“I mean, what were you going to do, send postcards to people in the ’90s: ‘Let’s meet up at 8 o’clock and catch a ride to the show?’” said Raitt’s manager, Kane. “The development of technology has been able to allow fans to connect into a community, and artists to connect to their fans, in more real time.”

Music — and the special energy and sense of community that forms around a concert — has a unique power, whether that’s starting fashion trends or catalyzing social change. It shouldn’t be a stretch for acts to inspire fans to choose more sustainable options, especially if artists and venues do the work to make those options more accessible. 

At its best, live music can be a launching pad for all sorts of climate-friendly ideas — from the plant-based concessions championed by Eilish to the kinetic dance floors pushed by Coldplay — making them not only available, but desirable to the broader public.

In the meantime, back at Jones Beach, as Dave Matthews winds down his set, thousands of cars sit in the parking lot beyond the grandstand, dimly illuminated by a strawberry moon rising over the ocean. While many fans will be leaving with new reusable water bottles, they’ll still have to burn dinosaur bones to get home. But the singer offers a message of hope.

“The world is a little bit crazy at the moment,” Matthews tells the crowd. “We should take care of each other a little bit more.”

One Nalgene at a time.