Energy Efficient Music Culture in Europe: An EE MUSIC Study: Erik Moholdt / Øya

Energy Efficient
Music Culture
in Europe:
an EE MUSIC study
Erik Moholdt / Øya
MUSIC, ARTS AND POLITICAL DISCOURSE

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The sole responsibility for the content of this publication lies with the
authors. It does not necessarily reflect the opinion of the European Union.
Neither the easme nor the European Commission are responsible for any
use that may be made of the information contained therein.
Contents
1. Introduction 2
2. Music event production in the EU 2
3. Sector energy and carbon 5
3.1
Music industry and carbon 5
3.2
Julie’s Bicycle Data 6
3.3
Green Club Index Data 12

4. Energy in the EU 16
5. Music event production: sector sustainability initiatives and resources 22
5.1
Key players 24
5.2
Resources and events 25
5.3
Suppliers 30
6. Good Practice 33
1 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

1. Introduction
EE MUSIC is a network of sustainability and energy experts, music industry experts and
communications agencies, working to help music events reduce energy use and its
environmental impacts. The EE MUSIC approach provides energy efficient and sustainable
energy solutions specific to the nature and needs of the music event sector. EE MUSIC is the
largest energy campaign for the music event industry there has ever been.
This study aims to bring together existing knowledge on energy efficient music production
across Europe, and provide some background on the music event production market in the EU
for those unfamiliar with it.
2. Music event production in the EU
A fragmented, uneven terrain.
The European music event production industry is a highly fragmented place. It has reached
different levels of maturity, been professionalised to varying degrees, and is subject to
distinctive local laws and policies in different territories. It is made up of a complex web of
relationships between promoters, venues, agents, managers, artists, production companies,
and freelancers. Its boundaries are difficult to define and overlap with other industries
including technology (lighting, audio, video, etc.), other event types, and marketing/advertising
(particularly through the recent rise in importance of experiential branding). Unlike the
recorded music industry, the music event industry is not comprehensively reported on.
No recent Europe-wide quantitative studies of the live music and club sector presently exist.
In individual countries, the quality, type and level of available sector information varies
substantially. In some, there are government studies that attempt to quantify the live music
sector but not the club sector, or mix it up with the rest of the ‘creative industries’; in some
countries trade associations produce annual reports but only for their members; and in others
there appear to be no published numbers.1 The difference in approach is such that it has not
been possible to combine the available data into an overall picture as this would take
substantial additional work and is not the core focus of this project.
As there are no comprehensive studies of the EU music event sector, our estimates of the
sector size are based on extrapolating available information. In the UK alone there are
approximately 2200 venues and clubs hosting live music2, and an estimated 500 music
festivals3 take place each year.
1
Dr David Laing, “What’s it worth? Calculating the economic value of live music” (Live Music Exchange, 2012) gives a nice overview of some of
the complexities encountered when attempting to compare data across different territories: http://livemusicexchange.org/blog/
whats-it-worth-calculating-the-economic-value-of-live-music-dave-laing/ . Examples of local studies include “Poppodia in Cifjers” by Dutch
venue association VNPF, which reports on the activities of its member venues including audience figures, and “Mapping the Economic Impact
of the Creative Industries (Towards Creative Iceland: building local, going global),” a 2011 study of the Icelandic creative industry which
measures concert turnover and number but not audience figures.
2
First Step: UK Music Industry Greenhouse Gas Emissions 2007 (Julie’s Bicycle, 2008) . Note that the UK figure does not include venues that
only host club nights but not live music nights.
3
Festival Map, Music Week (2011)

Extrapolated on the basis of venues/festivals per population, Julie’s Bicycle estimate that the
EU-27 territory hosts approximately 4,200 festivals and 18,300 clubs/music venues. The Green
Music Initiative and the Energy Agency of NRW (North Rhine-Westfalia) advised a revision
upwards to 19,000 clubs and venues based on their own data.
Further research suggests these numbers are roughly accurate – for example, the Portuguese
‘Estatísticas da Cultura’ lists 347 venues, which for a population of 10.53 million works out as
roughly 1 venue per 30,000 – similar to the UK’s 1 venue per 29,000 inhabitants. 4 These figures
are conservative as the statistics only take into account performance spaces, not those only
used for clubnights. The total upwards revision attempts to take these additional spaces into
account.
Festival statistics are similarly complex – in some countries, they include classical and/or local
folk and town music festivals, whereas in other countries statistics are limited to
contemporary pop/electronic/rock music festivals only. Estimates of the number of festivals
taking place in the UK range up to 9295 (which would put the number of EU-27 festivals at
7,350), but we have chosen a more conservative figure as EE MUSIC is not explicitly targeting,
for example, classical music festivals – and the density of music festivals in some other
countries is not thought to be as high as that in the UK.
Key European Networks and Events
Yourope6 is the Europe-wide trade body for music festivals, representing around 80 members
across 26 countries. There are no organisations of similar membership size or profile for
venues or promoters.
Live DMA7 is an association established in 2012 to represent small and medium sized popular
music venues and festivals and is an umbrella for 7 trade organisations (from France, Denmark,
Spain, Netherlands, Germany and Belgium) cumulatively representing 800 venues and
festivals. Other cross-border associations are much smaller. DeConcert! is another
(predominantly francophone) festival association representing 27 members, 18 of which are
based in France. 8 Trans Europe Halles is a network of 51 cultural venues and cultural centres in
25 European countries; most of these are cross-arts venues rather than specifically presenting
music events.9 Individual countries also have their own networks and trade associations, such
as VNPF in the Netherlands (53 venues and 27 festivals) or Le Circuit des Festivals in Belgium
(29 member festivals).
Global associations that may be of relevance to parts of this project are the recently formed
Association for Electronic Music (AFEM)10 and the International Music Managers Forum
(IMMF)11.
4
Estatísticas da Cultura (Gepac, 2011), http://www.gepac.gov.pt/estatisticas-e-estudos/estatisticas.aspx
5
From UK festival listings site eFestivals, http://www.efestivals.co.uk/news/12/120907c.shtml
6
http://www.yourope.org/
7
http://www.live-dma.eu/
8
http://deconcert.org/
9
http://www.teh.net/Members/tabid/168/Default.aspx
10
http://www.associationforelectronicmusic.org/
11
http://immf.com/

Key live music industry events in Europe that attract a pan-European audience include the
International Live Music Conference/ILMC (UK)12, Eurosonic Norderslaag (Netherlands)13,
Reeperbahn Festival & Campus (Germany)14, Amsterdam Dance Event (Netherlands)15,
PrimaveraPro (Spain)16 and the Great Escape (UK)17. Additionally, most countries host a number
of conferences or conventions that have a high national profile within their borders or local
markets, but do not (yet) have the same international profile, such as Tallinn Music Week in
Estonia.18
Promoters Live Nation and AEG Live possess substantial market share in most countries, with
predominantly local actors making up the rest.
Across Europe, the music event sector is feeling the effects of the economic recession, though
the exact circumstances vary and some territories are more affected than others. In France, for
example, rock and pop festivals have generally received subsidies from their local authorities
that are now being withdrawn, whereas Spain has seen a rise from 8% to 21% in VAT for tickets
to nightlife/entertainment events that is affecting ticket sales and profit margins. Accordingly,
priorities and key concerns usually revolve around issues such as ticket sales, artist fees,
competition, and growing and retaining audiences, with environmental sustainability often
perceived as low priority in comparison. This is also reflected in industry surveys – for example,
the 2013 European Festival Report produced by IQ magazine lists the top concerns among
promoters as Artist Fees (28%), Competition (21%), and Declining Sponsorship (13%). However,
the survey also shows a notable increase in promoters choosing ‘Production Costs’ as the first
and second most important factors affecting the festival industry currently in comparison to
previous years – and ‘Weather’ also ranks among the issues highlighted.19

Shambala 2014, Carolina Faruolo
12
http://www.ilmc.com/
13
http://festival.eurosonic-noorderslag.nl/en/
14
http://www.reeperbahnfestival.com/
15
http://www.amsterdam-dance-event.nl
16
http://pro.primaverasound.com/
17
http://mamacolive.com/thegreatescape/
18
http://www.tallinnmusicweek.ee/
19
2013 European Festival Report (ILMC IQ Magazine, Issue 50, November 2013, pp. 36-44)

3. Sector energy and carbon
3.1 Music industry and carbon
Few studies of the carbon footprint of the music industry exist – and none of them provide a
comprehensive overview of the music event sector, or the music industry across Europe. In
part this is due to the fragmented nature of music event production (obtaining the necessary
data from all the different actors involved can be very difficult) as well as a simple lack of
awareness and available systems. EE MUSIC is seeking to address this and tap into the energy
saving potential of the sector.
Perhaps the most wide-ranging study of the carbon impact of the music industry (and in fact
the first study of its kind) was published by Julie’s Bicycle in 2008. The combined UK music
market across recorded and live music in 2007 was estimated to be responsible for emissions
of approximately 540,000 t CO2e a year. To put this in perspective, annual emissions at this
level are roughly equal to the average annual emissions of a town of 54,000 inhabitants, or
the annual emissions from 180,000 cars. 20 This is a conservative estimate, taking into account
only data sources considered robust enough and therefore with limited scope.
74%, or 400,000 t CO2e, of these emissions are attributable to the live music sector, covering
the greenhouse gas emissions from venue energy use, festival generator use, equipment
trucking, tour buses and audience travel.
Figure 1 depicts the estimated GHG emissions from the UK music market. 21 The highest
proportion of GHG emissions comes from audience travel, followed by the lifecycle emissions
of CDs, followed by emissions produced by music venues.
Figure 1. GHG emissions per annum from the UK Music Market:

Recorded and Live
(Source: First Step, UK Music Industry Greenhouse Gas Emissions for 2007)
20
First Step: UK Music Industry Greenhouse Gas Emissions 2007, Julie’s Bicycle (2008)
21
Please see the original study for more detail on the scope of the GHG emissions analysis.

About a third (32%) of live performance GHG emissions are associated with venue energy use
(125,000 t CO2e per annum). 22
UK festivals are estimated to be accountable for emissions of 84,000 t CO2e per annum, of
which 20,000 t CO2e are attributed to generators. 23
A music venue with a capacity of 2,000 people is estimated to produce over 400 t CO2e per
year.
A large music festival (here defined as a festival with a capacity of more than 40,000 people)
will produce in the order of 2,000 t CO2e (this figure includes the impact of audience travel). A
medium festival is estimated to produce around 500t CO2e, and a small festival in the region
of 100 t CO2e. 24
A 2011 analysis of festival energy use estimated that UK festivals use 12,181,501 litres of diesel
annually, for an equivalent output of 48,360 MWh – generating approximately 31,573t CO2e in
2010 (note that this is a higher estimate than the 20,000 t CO2e for generator use at festivals
in 2007 estimated in Julie’s Bicycle First Step). 25 The study also estimated that only 3.026% of
festival energy demand in the UK was being met by temporary renewable energy technologies
(TRETs). Scaling up the estimated fuel use of the UK festival sector to all European festivals
yields an estimated annual demand of 100 million litres, producing 263,000 tCO2e annually
(2.63 kg CO2 per litre).
For another study, DeMontfort University has been analysing energy use at festivals in the UK
since 2009 and has collected over 200 minute-by-minute energy use profiles from areas
including stages, traders, and site infrastructure. Most recently, the researchers have
collaborated with biodiesel generator supplier Midas UK to improve collaboration between
academics, festivals, and suppliers and further increase knowledge on outdoor event energy
consumption. The analysis of their data suggests that there is scope for reducing greenhouse
gas emissions from events by up to 50% through measures including specifying more energy
efficient equipment, switching off equipment when it is not in use, switching to more
sustainable energy sources, and improving energy management on site by better analysis of
needs and more accurate planning. They are currently pushing for the development and wider
adoption of smart grids and real-time monitoring of energy need and use on site. 26
3.2 Julie’s Bicycle Data
Since 2007, Julie’s Bicycle has been building up a dataset to further inform the understanding
of energy use and carbon impacts for arts and cultural organisations. This dataset is based
mainly on data from Industry Green certified27 organisations and users of the Julie’s Bicycle IG
Tools, carbon calculators developed specifically for theatre, music and the creative industries
and for use by venues, festivals, offices, tours and productions. Currently, the IG Tools are
mainly used by UK organisations, but the number of European and international users is
increasing.
22
Carbon soundings: greenhouse gas emissions of the UK music industry, (C. Bottrill, 2010)
23
First Step: UK Music Industry Greenhouse Gas Emissions 2007, (Julie’s Bicycle, 2008)
24
First Step: UK Music Industry Greenhouse Gas Emissions 2007, (Julie’s Bicycle, 2008)
25
What are the barriers to operationalizing and expanding temporary renewable energy capacity at UK music festivals? (Joel Baker, MSc
Dissertation Climate Change and Policy, Sussex University, 2011)
26
Reducing Electricity-Related Greenhouse Gas Emissions at Off-Grid Outdoor Events (P. Fleming and B Marchini, Total Production
International, Issue 175, March 2014, pp. 102-103): http://issuu.com/mondiale/docs/tpimar14_digital
27
Industry Green (IG) Certification is Julie’s Bicycle’s environmental certification scheme for festivals, venues and offices. There are currently
47 Industry Green certified organisations, the majority of which are UK-based. http://www.juliesbicycle.com/industry-green

Venues
Of approximately 1,200 registered IG Tool users, about 680 are venues and cultural buildings,
mainly based in the UK. 10% (67) of these categorise themselves as being in the music sector.
31 of these would be classed as contemporary live music/club venues.
Figure 2. IG Tools venue and cultural building users by region:
Figure 3. IG Tools venues and cultural building users by sector:

Table 1. IG Tools music venue users – type and geographic region:
UK Non-UK Total
Arena 7 3 10
Large Concert Venue 13 - 13
Small Concert Venue 8 - 8
Total 28 3 31
The current data set of music venues on the IG Tools consists mainly of larger venues (median
floor area = 5,000m2), with a small number of smaller scale music clubs and bars. Of the 31
music venues using the IG Tools, 18 provided electricity use data and 17 provided data on gas
use. Total annual emissions for these music venues were almost 22,000 tonnes CO2e (16,400 t
from electricity use and 5,100 t from gas use). 30% of the venues account for 70% of this
carbon footprint.
Table 2. IG Tools music venue users – size, energy and carbon:
Range Median Total

Floor area (m )
2
370 - 37,636 5,000 -
Consumption Annual electricity 76,000 – 5,806,000 1,689,000 36,748,000
- kWh Annual gas 500 – 4,763,000 947,000 27,523,000
Emissions Annual electricity 30 – 2,600 750 16,400
- tonnes CO2 Annual gas <1 – 880 170 5,100
Julie’s Bicycle has recently updated its set of energy benchmarks for venues. This is based on
data from all types of cultural venues, including music but also theatre and others, and of
varying scales (40 – 15,000+ seats). The benchmarks have been created using an appropriate
relative metric of ‘per m2 per year’ to make comparison easy across different venues. The
benchmarks are intended to help cultural buildings compare their energy performance to the
average.
Julie’s Bicycle Venues and Cultural Building Benchmarks, 2014
› 104 kWh electricity per m2 per year

› 111 kWh gas per m2 per year
The electricity benchmark is based on a sample of data from 340 cultural buildings, while the
gas benchmark is based on a sample of data from 292 cultural buildings. Please note that the
gas benchmark has been ‘weather normalised’ (i.e. adjusted for relative outside temperature)
so that gas consumption can be compared across different periods.

Festivals
177 music organisations use the festival/outdoor event IG Tools. About 35 of these music
festivals are located outside of the UK, in countries including Spain, Norway, the Netherlands,
Sweden, and France.
Figure 4. Industry Green Tool outdoor event and festival users by

sector
Table 3. Industry Green Tool music festival users
UK Non-UK
<20,000 attendees 38 22
>20,000 attendees 16 13
54 35
All of the data from the UK festivals was robust enough for analysis, whereas for the non-UK
festivals, data from 22 out of the total 35 was robust enough. Out of these 22 non-UK festivals,
10 festivals had attendances smaller than 20,000 and 12 festivals had attendances greater than
20,000.

Table 4. IG Tools UK music festival users energy use and carbon
emissions
Count Electricity Bottled Gas Diesel Biodiesel Renewable

(kWh) (litres) (litres) (litres) (kWh)
<20,000 attendees 38 1,000 7,381 27,134 22,798 134
>20,000 attendees 16 29,217 91,344 1,106,798 74,135 394
Total 54 30,217 98,725 1,133,932 96,933 528
Total emissions - 13 147 3,028 n/a n/a
tonnes CO2e
Table 5. IG Tools European music festivals energy use and carbon

emissions
Count Electricity Bottled Gas Diesel Biodiesel Renewable

(kWh) (litres) (litres) (litres) (kWh)
<20,000 10 42,448 5 6,887 0 0
attendees
>20,000 12 151,746 1,310 113,665 3,700 30,163
attendees
Total 22 194,194 1,315 120,552 3,700 30,163
Total emissions 87 2 322 0 0
- tonnes CO2e
Julie’s Bicycle has recently updated its set of energy benchmarks for festivals. This is based on
data from 13 festivals spanning 2011, 2012, and 2013. In each case the most recent available year
of verified data was selected. The figures were derived from UK greenfield music events with
>20,000 attendance and with camping facilities. One festival was included with <20,000
attendees as data aligned well with the benchmark median.
The benchmarks have been created using an appropriate relative metric of ‘per audience day’.
One audience day is equal to one person visiting the festival for one day – for example, a
person attending a festival for Friday/Saturday/Sunday would count for 3 audience days. This
permits festivals to take into account day-tickets as well as weekend tickets, and compare their
energy use across different years even when capacities and visitor numbers change. The
benchmarks are intended to help festivals compare their energy performance to the average.
Julie’s Bicycle Festival Benchmarks 2014
› 0.7 litres diesel per audience day

› CO2 emissions: 1.9 kg per audience day

Please note that the figure for diesel does not include concession diesel use – i.e. diesel use by
traders, stands, etc.
Carbon and Financial Savings
Julie’s Bicycle regularly reports on the carbon and financial savings of venues and festivals they
work with using data obtained through Industry Green Certification, IG Tools, sMeasure (an
energy management software for venues and buildings), and data provided directly by the ATG
(Ambassador Theatre Group) for their venues.
An analysis of two years’ worth of data from 62 UK venues and cultural buildings showed net
financial savings of approximately 8% and carbon savings of approximately 9%, working out at
4,000 tonnes CO2e. Please note that the savings calculations for venues cover all types of
venues including those presenting theatre and other types of performance art, not just music
– this is due to the high incidence of ‘combined arts’ venues presenting multiple artforms
(making it difficult to separate out music venues), and because currently a relatively small
dataset makes the combination of all venues a more robust calculation.
The festival savings calculations are based on data from eight UK music festivals, showing an
average reduction of 75 t CO2e per festival. Around 82% of this reduction was in diesel use and
18% in bottled gas use (much of it due to a fuel switch to sustainable biodiesel). Biodiesel use
also decreased by 34% in this time period, indicating overall efficiency savings.
Table 6: Net carbon and financial savings for festivals
2011/12 v 2012/13 Overall

CO2e (tonnes) -600
£ -£120,000
Please note: these figures have been rounded to the nearest 100 for clarity. Financial savings
are based on average energy cost.
Firefly Clean Energy @We Love Green, France

3.3 Green Club Index Data
Initiated by the Green Music Initiative and the EnergyAgency.NRW in Germany, the Green Club
Index was the first German national pilot project analysing and comparing energy consumption
in music clubs. They helped 14 clubs throughout Germany to set up energy management
schemes for their venues by providing tailor-made energy audits to each club. On the basis of
this work, they estimate that an average sized club uses approximately 120,000 kWh of
electricity per year, generating 67 tCO2e.
An index number for each club is calculated based on annual consumption and annual visitor
numbers, allowing club operators to compare their performance to other clubs. The project
also provides a hub for sharing best practice in improving energy efficiency and awards the
Green Club Label (a low threshold certification scheme for small and medium sized venues).
The following facts and figures were calculated by the Green Club Index based on the
experiences of the 14 clubs in the Green Club Index:
› 40% of a club’s energy consumption is from refrigeration. This deviates from Julie’s
Bicycle data, where around 35% of energy use is from HVAC systems and refrigeration is
a comparatively smaller impact – however, this is likely largely due to the fact that the JB
dataset is based on larger venues, many of which have HVAC systems, whereas most of
the clubs in the Green Club Index do not.
› Switching to LED lighting can save up to 90% of lighting energy use
› Clubs were able to produce reductions in energy consumption of ~22%, mostly realised
from simple projects/adaptions. This is generally in line with Julie’s Bicycle experience,
showing 5-20% reductions in energy use from no- and low-cost interventions.
› In Germany, a switch to a green tariff power supply agreement can save costs. 28
Tables 7, 8 and 9 (below) describe the annual energy consumptions of the 14 clubs involved in
the Green Club Index pilot project, as well as the annual savings each club has made as a
consequence of being involved with the pilot.
Table 10 is a case study of the German club Gloria, which lists the various actions it took to
reduce its energy consumption and the respective estimated energy and cost reductions
associated with each action.
28
Figures supplied directly by Thema1/Green Club Index based on their work.

Table 7. Green Club Index - Electricity consumption and savings
Club Electricity Savings

consumption per kWh per year € per year kg CO2 Savings
year in kWh per year in %
Club Bahnhof 44184 20970 4992 21519 47.46
Ehrenfeld
Bahnhof 181649 2945 4521 1758 1.62
Langendreer
Butan 54352 1296 2217 774 2.38
Gloria 122203 33692 7012 20114 27.57
Stereo 135146 15190 2736 9068 11.24
Ufer8 121942 8862 1644 5291 7.27
Capitol 89760 5890 755 3516 6.6
KOI 58510 12108 2422 6853 20.7
Rude7 28876 13990 3358 7918 48.4
Zimmer 29350 13672 2870 7738 46.6
Travolta 57000 7046 1762 3988 12.4
11er 28000 9300 1860 5264 33.2
Nachtleben 87700 17867 3573 10113 20.4
KingKamehameha 120000 34827 8358 19712 29.0
Total 1,158,672.0 197,654.8 48,079.5 123,626.8 17.1
Table 8. Green Club Index - Gas consumption and savings
Club Gas consumption Savings

per year kWh
kWh per year € per year kg CO2 per year
Bahnhof Langendreer 446144 15400 881 3865
Stereo 89676 - 2000 -
Ufer8 - 4000 229 1016
Total - 19400 3110 4881
Table 9. Green Club Index -Total savings
Club Savings
kWh per year € per year kg CO2 per year
Electricity Total 197,654.8 48080 123627
Heating/ gas Total 19400 3110 4881
Total 217,055 51,190 128,508

Table 10. Example case study of reduction actions and estimated
savings - Gloria Club, Cologne
Please note: It has not been possible to combine data from the Julie’s Bicycle benchmarks with
data obtained by the Green Music Initiative for its Green Club Index as certain key indicators
were not available across both data sets to enable standardisation. Specifically, Julie’s Bicycle
bases its standardisation on floor area while the Green Club Index bases its standardisation on
annual visitor numbers.
We are hoping that through the experiences of EE MUSIC, data collection across the music
event production industry can be better standardised, to enable future datasets to be more
easily assimilated. The first step towards this is the adaptation of the Julie’s Bicycle IG Tools for
use across Europe – and one of the key aims of the EE MUSIC project is the establishment of
European benchmarks based on data collected throughout the duration of the project.

Latitude Festival, UK, Festival Repulic

4. Energy in the EU
At the time of writing, the final EU 2030 framework for climate and energy policies is still under
deliberation. The way the 20-20-20 targets from the EU 2020 climate and energy package have
been interpreted and implemented at national level of course varies from country to country.
Accordingly, some have regulatory frameworks and incentives that are more suitable and/or
applicable to the music event industry – while in others, the sector remains largely unaffected.
For example, the opportunities for installing on-site renewable energies in many cases depends
on the available government grants and subsidies (as not many venues will be able to afford
the up-front costs of installations).
Energy Cabon Intensity
In terms of their energy sustainability and emissions impact, clubs and venues are dependant
on the grid energy mix and types of tariffs available in their countries. ‘Green’, or renewable
energy, tariffs are not available in all the 27 EU countries included in the EE MUSIC action.
While reporting on the exact energy mix of each country is beyond the scope of this report, we
have decided to include an overview of electricity conversion factors across the different
countries. This should give an indication of the comparative carbon impact an average club
drawing power from the mains grid in each territory has.
Boom Festival, Portugal

Table 11. Emissions associated with the generation of electricity at
EU power stations, 2014
Please note: Electricity generation factors do not include transmission and distribution. We are
here reproducing ‘electricity generation’ figures (rather than ‘electricity consumption’) as these
are the recommended figures for use in Scope 2 Company Reporting under the GHG Protocol.
These figures are taken from the Greenhouse Gas Conversion Factor Repository operated by
the Department for Environment, Food & Rural Affairs (Defra) in partnership with Carbon
Smart in the UK. 29
Activity Country Unit kg CO2e

Electricity Electricity: Austria kWh 0.18788
generated Electricity: Belgium kWh 0.21956
Electricity: Bulgaria kWh 0.53546
Electricity: Croatia kWh 0.23637
Electricity: Czech Republic kWh 0.58902
Electricity: Denmark kWh 0.35967
Electricity: Estonia kWh 1.01414
Electricity: France kWh 0.07909
Electricity: Germany kWh 0.46089
Electricity: Greece kWh 0.71826
Electricity: Hungary kWh 0.31708
Electricity: Iceland kWh 0.00018
Electricity: Ireland kWh 0.45804
Electricity: Italy kWh 0.40631
Electricity: Latvia kWh 0.11971
Electricity: Lithuania kWh 0.33741
Electricity: Malta kWh 0.87232
Electricity: Netherlands kWh 0.41485
Electricity: Norway kWh 0.01669
Electricity: Poland kWh 0.78135
Electricity: Portugal kWh 0.25531
Electricity: Romania kWh 0.41344
Electricity: Slovakia kWh 0.19704
Electricity: Slovenia kWh 0.32491
Electricity: Spain kWh 0.23798
Electricity: Sweden kWh 0.02957
Electricity: United Kingdom kWh 0.44548
Electricity: EU (average) kWh 0.34723
29
Greenhouse Gas Conversion Factor Repository, Defra/Carbon Smart: http://www.ukconversionfactorscarbonsmart.co.uk/

Based on this data, reordering the EEMUSIC territories by carbon intensity of their electricity
generation gives (from highest to lowest): Estonia, Malta, Poland, Greece, Czech Republic,
Bulgaria, Germany, Ireland, United Kingdom, Netherlands, Romania, Italy, Denmark, Lithuania,
Slovenia, Hungary, Portugal, Spain, Croatia, Belgium, Slovakia, Austria, Latvia, France, Sweden,
Norway, Iceland.
Energy Costs
One of the key drivers for implementing energy efficiency measures in music event production
is of course the rising cost of energy, which in turn means higher production and infrastructure
costs. However, the costs of electricity, gas, and diesel vary across the EU, so in some countries
energy price will be a stronger incentive for reducing energy use than in others.
Glyndebourne, UK by Sam Stephenson

Table 12. Average industrial electricity prices in the EU for small
consumers in January - June 2013
Please note: ‘Small consumers’ are those consuming 20 - 499 MWh per annum. Medium
consumers are those consuming 2,000 - 19,999 MWh per annum. While some music venues
will fall into the latter category, the majority of clubs and venues that will be reached are
thought to fall under ‘small consumers’, so we have chosen to present the average energy costs
for small consumers in this study. For large and very large venues in particular, actual energy
costs are likely to be lower.
These figures are taken from a statistical data set published by the Department for Energy and
Climate Change (DECC) in the UK and based on data from Eurostat and the International
Energy Agency (IEA).30 We have chosen to use the Jan-Jun figures rather than the Jul-Dec ones,
as the latter do not have information available for all countries.
Country Cost (€ cent/kWh), excluding tax Cost (€ cent/kWh), including tax

Austria 10.9 13.6
Belgium 13.1 15.0
Bulgaria 9.5 9.6
Croatia 11.6 11.6
Cyprus 23.7 24.5
Czech Republic 15.2 15.3
Denmark 10.1 11.5
Estonia 9.3 10.7
Finland 8.5 9.3
France 9.3 11.2
Germany 10.9 17.1
Greece 12.9 16.3
Hungary 10.6 11.2
Ireland 16.2 16.7
Italy 13.8 20.1
Latvia 12.6 12.6
Lithuania 13.3 13.4
Luxembourg 11.4 11.9
Malta 20.7 20.7
Netherlands 10.1 13.5
Poland 11.7 12.2
Portugal 11.9 15.0
Romania 11.0 11.0
Slovakia 15.3 15.7
Slovenia 11.9 13.1
Spain 14.8 15.5
Sweden 9.2 9.2
UK 13.2 13.7
“Quarterly: Industrial electricity prices in the EU for small, medium, large, and extra large consumers” Statistical Data Set, DECC 2014:
30
https://www.gov.uk/government/statistical-data-sets/international-industrial-energy-prices

Table 13. Average diesel prices across the EU in 2013
Please note: these figures apply to road diesel. In many countries, there will be a lower rate of
tax applied to non-road machinery and generators may or may not be eligible for this –
however, we have been unable to find a comparison overview of this non-road tax duty and
where it applies to fuel used in generator sets. As such, these prices should be taken as
indicative costs only and actual costs are likely to be lower in many countries.
These figures are taken from a statistical data set published by the Department for Energy and
Climate Change (DECC) in the UK.31
Country Cost (€ cent/l), Cost (€ cent/l),

excluding tax and duty including tax and duty
Austria 73.6 140.4
Belgium 75.2 144.4
Bulgaria 80.7 137.7
Croatia 72.4 133.6
Cyprus 80.6 145.1
Czech Republic 75.1 143.4
Denmark 80.8 153.1
Estonia 73.2 136.4
Finland 79.2 156.9
France 71.3 139.5
Germany 75.6 147.8
Greece 81.5 143.8
Hungary 77.5 148.7
Ireland 75.8 156.5
Italy 77.5 171.2
Latvia 75.1 134.9
Lithuania 78.6 136.3
Malta 79.5 142.1
Netherlands 75.1 146.8
Poland 74.0 135.1
Portugal 78.6 143.4
Romania 75.4 136.7
Slovakia 77.7 143.5
Slovenia 71.6 142.4
Spain 77.8 140.3
Sweden 78.2 170.1
United Kingdom 71.8 170.8
“International Road Fuel Prices” Statistical Data Set, DECC 2014: https://www.gov.uk/government/statistical-data-sets/comparisons-of-
31
industrial-and-domestic-energy-prices-monthly-figures . Please note that DECC provides the figures in pence/litre; we have used the official
European Commission accounting rate for May 2014 to convert this to cents/litre.

Wembley Stadium

5. Music event production: sector sustainability
initiatives and resources
Environmental sustainability has been a topic of growing interest among music event
professionals across Europe in the past few years, evidenced by an increasing number of
mentions of the topic in trade contexts, including special panels or even thematic strands at
conferences, pages dedicated to ‘green ideas’ in trade production journals, and increasing
numbers of informal networks. However, the extent to which venues, clubs, festivals and other
players in the live music industry across Europe have engaged with environmental
sustainability and energy efficiency varies hugely across the different territories. There is some
evidence to suggest that more ‘developed’ markets are also more engaged with sustainability.
By ‘developed’ in this instance we mean music event production markets that have established
professional codes of practice and standards around topics such as health & safety and training,
dedicated trade associations and events, and other sector-specific institutions. Examples
include the UK, Germany, France, and Belgium. Less established markets, frequently referred to
as ‘maturing markets’ within the industry, include many of the Eastern European territories.
Anecdotally, it has been suggested that some music event operators in developing territories
(both in Europe but also internationally across Asia and South America) see engagement with
environmental sustainability as an aspirational mark of professionalism for their industry.
It should also be noted that few venues or events tackle energy efficiency specifically – rather,
it is one of many environmental impacts being addressed where action is taken. Festivals in
particular tend to put more emphasis on reducing waste as it is a more immediately visible
impact. This creates some difficulty in identifying stakeholders or initiatives specifically related
to energy efficiency – a ‘green event’ may have been designated so on the basis of its waste-
and water-conservation actions alone. For the purposes of this section of the market study, we
will therefore speak of festivals and venues engaging with ‘environmental sustainability’, where
this means that they address energy efficiency and sustainable power in some capacity but
usually not extensively or exclusively. Where an initiative or guide addresses energy specifically,
this is noted.
It has been far easier to find information on sustainability initiatives at festivals and outdoor
events than it has been to find the equivalent for venues – though this does not necessarily
mean that they do not exist, but rather that because of their less visible nature there may be
less of an incentive to publicise them (and venues may be more likely to take action in
isolation).
Anecdotally, it is noticeable that music festivals do not always partner with other music
festivals in their country on sustainability initiatives, likely determined by the level of interest
present. Instead, sole actors sometimes group together with performing arts or other festivals,
look to the corporate events industry, or find festivals engaging with sustainability in other
countries. This potentially indicates a difficulty for pioneers to engage others in their efforts,
where the path of least resistance for knowledge exchange and collaborative working on
environmental sustainability becomes working with those already engaged even if they are less
closely related in activity and/or location.

Some of the key challenges that have been identified for venues, clubs, and festivals to take
action on energy efficiency and environmental sustainability include:
› A lack of financial incentives and capacity for purchase of energy efficient equipment;
› Shortage of widespread education and training within the sector;
› (Perceived) shortage of time to take action and/or prioritise the issue;
› Lack of awareness and information about the potential gains from improved efficiency;
› The limits of choice through sponsorship deals;
› Dependence on freelancers and small organizations, which cannot gain or retain the
experience required.
› Little available information on supply chains and/or links to suppliers of energy efficient
equipment;
› No benchmarking measurements or pre-existing energy consumption data available;
› Confusion around new technologies e.g. LEDs
These challenges should not be underestimated. Despite the large amount of interest and
goodwill demonstrated by professionals in the music event production industry, effective
action does not always materialise (the ‘value-action’ gap).
A recent survey of the attitudes and experiences of cultural and creative leaders in the UK in
relation to environmental sustainability undertaken by Julie’s Bicycle found music less actively
engaged with integrating environmental sustainability in their operations than other sectors:
“Theatre and Visual Arts out-perform on a number of fronts - practical, artistic and innovative
- but both sectors consider themselves to be low performing in relation to others with only 15%
and 9% respectively thinking that they do more. At the other end of the spectrum Literature
perceives itself as doing the most, but is the least engaged and perceives sustainability as the
least relevant, followed by Music. It seems that the more the nature of the sustainability
challenge is understood the smaller achievements appear to be. This is an important insight
for leadership.”
However, 70% of respondents from the music sector thought that sustainability is extremely or
very relevant, while 10% thought that sustainability is not at all relevant. 66% responded that
sustainability has become more important to their organisation in the last two years, and 63%
think it will get more important over the next years.32 Projects such as EE MUSIC are aiming to
build on this existing interest and engagement with practical solutions to scale up activity and
narrow the value-action gap.
There may be further country-specific studies on energy efficiency and sustainability at live
music events available that have not been unearthed in this first study. We are hoping to gather
further information throughout the duration of the EE MUSIC project.
All figures taken from “Sustaining Creativity Survey: actions and attitudes from the creative community: environmental sustainability 2014”
32
(Julie’s Bicycle and BOP Consulting): http://www.juliesbicycle.com/Sustaining-Creativity

5.1 Key players
GO Group – Green Operations Group – Europe is the key pan-European body addressing
environmental sustainability in the music festival and events industry. It was founded by a
partnership between the Green Music Initiative, Buckinghamshire New University, the
GreenEvents Conference, and Yourope.
Organisations that are active on environmental sustainability for the live music industry across
Europe include:
› Julie’s Bicycle (UK): addressing predominantly live music venues and festivals, but not
traditionally nightclubs (that do not also host live music events).
› Thema1/Green Music Initiative/Green Club Index/Green Arena Network (Germany):
addressing predominantly nightclubs (with less of an emphasis on live music venues that
do not also host club nights), festivals, and big venues (stadia and arenas)
› A Greener Festival (UK): addressing festivals only.
› Buckinghamshire New University (UK): undertake research predominantly addressing
festivals and events
› Sounds for Nature Foundation (Germany): addressing mainly festivals.
Many countries also have their own national organisations or associations, listed in the specific
country studies, but none of these are active on the European level to the same extent.
The only project we know of specifically addressing sustainable energy for festivals is Powerful
Thinking in the UK, a think-do-tank initiated by a group including Julie’s Bicycle, A Greener
Festival, Association of Independent Festivals, Bestival, Festival Republic, Firefly Solar, and
Kambe Events (all UK based festival organisers, event consultants or power providers).
It is also worth noting the activities of the Green Music Group and Reverb in the United States,
who are actively providing and seeking out sustainable solutions for the live music industry
across the USA, though their work is more focused on individual tours and artist/audience
engagement.
Please refer to the country pages on the EE MUSIC website for more detailed information on
national initiatives; and case studies for outstanding venues and events addressing energy
efficiency in their operations.

5.2 Resources and events
Resources: Guides
We have found the following specifically energy-related guides aimed at the live entertainment
industry:
› General: The Power Behind Festivals: a guide to sustainable power at outdoor events
(Powerful Thinking, UK, 2013)
http://www.juliesbicycle.com/resources/practical-guides/powerful-thinking
› General: The Powerful Thinking website contains case studies and individual fact sheets
on topics such as engaging caterers on energy efficiency (Powerful Thinking, UK)
http://www.powerful-thinking.org.uk/
› General: Energising Culture: future energy strategies for cultural buildings (Julie’s
Bicycle, UK, 2012)
http://www.juliesbicycle.com/resources/publications/energising-culture
› General: Practical Guide: Energy Management in Buildings (Julie’s Bicycle, UK, 2014)
Please note that this resource is currently being updated.
http://www.juliesbicycle.com/resources/practical-guides/green-your-building
› General: Sustainable Event Management: A Practical Guide; chapter on energy (Meegan
Jones, 2nd Edition 2014). Please note that unlike the other resources listed here this is
not a free guide.
› General: Leitfaden für die umweltverträgliche Gestaltung von Open-Air-Veranstaltungen;
section on Energy and Climate Change (Sounds for Nature, Germany, 2013).
http://soundsfornature.eu/wp-content/uploads/SfN_Leitfaden.pdf
› Lighting: White Light Green Guide (White Light, UK, 2013): a guide on sustainable
lighting by one of the UK’s leading suppliers of lighting & audio technology to the
entertainment sector.
http://www.whitelight.ltd.uk/wp-content/uploads/2013/03/White-Light-Green-
Guide-2013.pdf
› Lighting: BBC Low Energy Lighting Guide (BBC & Arup, UK, 2011): a guide on sustainable
lighting aimed at television production, but still contains useful content for the wider
entertainment lighting industry.
http://downloads.bbc.co.uk/outreach/BBC_LEL_Guidelines.pdf
› Lighting: Broadway Green Alliance Lighting Guide (BGA, USA, 2014): A comparison of
different more efficient fixtures for common lighting applications – note this is aimed at
a US market so not all products may be available in Europe, but likely a good starting
point to look at alternatives for technical/lighting production managers.
http://www.broadwaygreen.com/green-lighting-guide/

Resources: Research
A 2010 academic review of the published (i.e. in academic journals) articles on festivals found
that “The paucity of articles on festival or event environmental impacts can only be described
as appalling… Basically, there is no correspondence found between popular rhetoric on
sustainability and the entire field of event studies as evidenced by published research
articles.”33 We would consider this somewhat inaccurate – as a minimum we are aware of
academic work occurring at Bucks New University, as well as at the Environmental Change
Insitute Oxford (through Julie’s Bicycle) and DeMontfort University and there is an
ever-increasing amount of industry-specific trade literature on running sustainable events that
would not necessarily be reflected in the academic literature but that is nonetheless based on
evidence collected in the field.
› Julie’s Bicycle and Green Music Initiative research (summarised in Section 2)

› First Step: UK Music Industry Greenhouse Gas Emissions for 2007 (Julie’s Bicycle, 2008):
In August 2007 Julie’s Bicycle commissioned the Environmental Change Institute, Oxford
University, to estimate annual greenhouse gas emissions of the UK music industry,
identify the key constraints and opportunities for reducing emissions and make initial
recommendations for specific actions and priorities for the medium term. The indicative
total shows that the UK music market is responsible for approximately 540,000 tonnes
CO2e per annum. While this is not as intensive as many industries, it is a significant
challenge to reduce CO2e emissions by 80% by 2050.
ttp://www.juliesbicycle.com/resources/publications/first-step
› Sustaining Great Art: Arts Council England Year 1 Report (Julie’s Bicycle, 2013): In 2012,
the Arts Council England introduced environmental reporting on energy and water use
as a requirement for 704 major revenue funded organisations and established a
three-year partnership with Julie’s Bicycle to support organisations through the process.
This report presents the findings of the first year, including an estimated £810,000 energy
bill reduction from actions undertaken in 62 cultural buildings.
http://www.juliesbicycle.com/resources/publications/sustaining-great-art
› Moving Arts: Managing the Carbon Impacts of our Touring, Volume 1: Bands (Julie’s
Bicycle, 2010): This study was undertaken to begin quantifying the environmental
impacts of music touring activity at different scales and identify mechanisms for
reducing them. In terms of energy use, the findings show that generators used to
supplement on-site electricity supply can make up a significant portion of the
greenhouse gas emissions for stadium-level tours (while transport and freight are
responsible for the majority of emissions at all other touring levels).
http://www.juliesbicycle.com/resources/publications/moving-arts-bands
› What are the barriers to operationalising and expanding temporary renewable energy
capacity at UK music festivals? (Joel Baker, MSc MSc Climate Change and Policy, Sussex
University, 2011)
http://www.powerful-thinking.org.uk/site/wp-content/uploads/Festival-Renewables-Joel-
Baker.pdf
› Powerful Thinking Research: Energy monitoring at UK festivals (2012)
http://www.powerful-thinking.org.uk/site/wp-content/uploads/Power-Thinking-Research-
Summary-2012.pdf
› Reducing Electricity Related Greenhouse Gas Emissions at Music Festivals. (Ben
Marchini, Paul Fleming and Christopher Maughan, DeMontfort University, Leicester,
2012)
http://www.powerful-thinking.org.uk/site/wp-content/uploads/Electricity-at-Festivals-
summary-findings-March-2013.pdf
› Electricity related greenhouse gas emissions at outdoor events (Paul Fleming, Ben
Marchini, Christopher Maughan, DeMontfort University, 2014) in Carbon Management,
Feb 2014 Volume 5
http://www.future-science.com/doi/abs/10.4155/cmt.13.69 ;
summary available in Total Production international magazine at
http://issuu.com/mondiale/docs/tpimar14_digital , p.102
33
Getz, Donald (2010) “The Nature and Scope of Festival Studies” in International Journal of Event Management Research; Vol 5, Number 1, 2010

Resources: Other
› Biennales Internationales du Spectacle: biennial conference held in Nantes that

includes a strand on sustainable development. Downloadable transcripts of the 2012
panels are available, including those for panels 1. Quelles économies d’énergie et quelles
énergies vertes sur un évènement ? (event sustainable energy and energy efficiency,
featuring representatives of Nuits Sonores in France and Lasemo in Belgium); La collecte
et le recyclage des piles et accumulateurs usagés du spectacle (battery collection and
recycling at shows); and Utiliser l’énergie solaire sur son évènement (solar energy use at
events): http://www.bis2014.com/developpement-durable.html (scroll to the bottom of
the page for download links)
› Green Events Europe: annual conference held in Germany focusing on sustainable event
production. A downloadable report of the 2013 conference is available, including a
summary of The Power Panel, featuring Chris Johnson of Shambala Festival (UK), Jacob
Bilabel of the Green Music Initiative (DE), Sebastian Fleiter of Electric Hotel (DE) and
Paul Schurink of ZAP (NL): http://www.green-events-germany.eu/fileadmin/user_upload/
pdf_daten/GreenEvents_Europe_2013_Full_Conference_Report.pdf [PDF]
As noted earlier in this study, most guides and resources aimed at the music event production
sector cover environmental sustainability as a whole, rather than concentrating on individual
issues. For the purposes of this study, we have only listed the resources specifically related to
energy. More general local guidance can be found in some of the country sections online at
the EE MUSIC web portal.
Audience attitudes
A 2012 survey of 2,300 festival attendees from across Europe by A Greener Festival and
Buckinghamshire New University, supported by Yourope and the Association of Independent
Festivals found:
› Only 56.1% of respondents felt that festivals had a negative environmental impact related
to CO2 emissions. This is the lowest proportion of respondents for any of the listed
impacts except for water wastage – potentially indicating a lack of understanding of the
sources of carbon emissions among audiences. (In comparison, 87.4% of respondents
considered that festival waste was a source of negative environmental impact).
› “28.1% of festival fans said they did consider a festival’s environmental impact when
choosing to go to an event (up from 21.8% in 2008) but the majority of did not with
25.4% not sure. However overall this is a substantial drop from similar research in 2009
and 2008 (59.4% and 36% would consider those), and reflects opinions in 2006 when 27%
of fans though the issues were important, with 46.4% then saying that an event’s
environmental record was not of interest.” See http://www.agreenerfestival.com/2013/01/
what-fans-want-green-events-and-their-fave-band/ for more information on the results.

Events
There are few large-scale sector events specifically on music event production and
environmental sustainability (and none we are aware of on energy efficiency exclusively). The
events we have found tend to be localised and small, though there is an increasing incidence of
environmental sustainability and sustainable development strands at national industry events,
indicating a fast-growing interest in the topic.
Specific events of note addressing a pan-European audience include:
› Green Events & Innovations, a one-day conference on environmental sustainability in live

music production added on to (but separate from) ILMC in London and organised by A
Greener Festival in partnership with Buckinghamshire New University and the
Association of Independent Festivals (UK).
› The International GO Group Workshop, an annual two-day workshop event on
environmental sustainability for festivals and events. The GO Group also holds
workshops tied into other events, such as at Berlin Music Week 2013, Oya Festival in
Norway 2013, Eurosonic Norderslaag 2013, and more.
› GreenEvents Europe Conference, a 2-day conference in Germany organised by Sounds for
Nature and Bonn Promotion Dept mainly examining environmental sustainability for
outdoor events and festivals.
› Green Music Dinners, organised by the Green Music Initiative and usually taking place
within larger music industry events such as the 2012 Green Music Soiree at Berlin Music
Week (GMI) and the Green Music BBQ at c/o pop Cologne (GMI).
Conferences and workshops focusing exclusively on environmental sustainability in the wider

events industry are growing in size and stature across Europe, including the Sustainable Events
Summit in the UK. This points towards a general trend that the corporate and conference
events industry is more visibly engaged with environmental sustainability as a business critical
issue than the live music and entertainment events industry – however, interest in the music
event industry has been exponentially increasing in the past 1-2 years.
Chris Johnson, chair of Powerful Thinking, has presented on the ‘Power Behind Festivals’ guide
in sessions as part of a number of industry events, including PrimaveraPro, the UK Festival
Awards, ILMC34, Green Events & Innovations, PLASA, and more.
There have also been local events with a focus on building knowledge to distribute more widely
through industry networks. For example, the Green Music Initiative held workshops on focus
topics such as cooling, lighting, and crowd investing for energy efficiency as part of the Green
Club Index both to share knowledge among the clubs as well as to inform GMI’s wider work in
the industry across Europe.
A further event to take notice of is the 2009-2011 Energy Union Tour, which aimed to promote
the benefits of ‘intelligent energy’ to a young target audience using art and music – but this
initiative did not address energy use in the music industry directly. Partners included: WIP
Renewable Energies, FoEE (Friends of the Earth Europe), EREC (European Renewable Energy
Council, Belgium), Ninja Tune, Brightonart, 4youreye, Elevate Festival, Green City, and
Holoda:Skalnik.

Awards
Many countries have their own nationally recognised certifications or awards, however the
following are recognised or known across Europe:
› The Green Operations Awards (previously Green N’ Clean): part of the European Festival
Awards, presented by Yourope and GO Group. One winner per year, festivals only.
› A Greener Festival Awards: award scheme for festivals, multiple winners every year are
assigned to the categories ‘outstanding’, ‘highly commended’, ‘commended’ and
‘improving’ and additionally there is one overall winner. In 2012, 27 European festivals
received some kind of mention.
› Creative Industry Green: Julie’s Bicycle certification scheme; applicants receive 1-3 stars based
on meeting criteria in commitment, understanding/measurement, improvement, and
communication. Certification available to festivals and venues.
› Green Club Label: developed by the Green Music Initiative in cooperation with the
EnergyAgency.NRW, this is a low-threshold award for nightclubs in recognition for their
ongoing efforts on climate protection and energy efficiency.
› Sounds for Nature Seal: for festivals, who must hand in a declaration of commitment
according to the Sounds for Nature guidelines. The seal is valid for one year.
Other certifications of interest include:
› WindMade: a global consumer label identifying products and companies made with wind
energy that can also be applied to events that are run on 100% renewable power.
Green Operations Awards Imogen Heap

5.3 Suppliers
Other than international manufacturers of energy efficient equipment for sound and lighting,
suppliers tend to serve their national territories rather than operating across country
boundaries. The following is by no means an exhaustive list of suppliers of services and
products focusing on sustainable energy, however it is intended as a starting point and to
provide an overview of some of the types of services and technologies available. Throughout
the course of the EE MUSIC project, we expect to gather further information on country-
specific suppliers, posted in the online country sections at http://ee-music.eu .
Databases for environmentally sustainable services and products:
› Julie’s Bicycle Green Arts Marketplace (UK): www.greenartsmarketplace.com/

› Huged/Human Green Event Development (Belgium): http://www.huged.be/
› La Boss (France): http://www.laboss.fr (this is not aimed specifically at the creative
industries, but does list some technologies that are)
› Carbon Trust Green Business Directory (UK): http://www.carbontrust.com/resources/
tools/green-business-directory (this is not specifically aimed at the creative industries,
but may be particularly relevant to venues and offices)
Energy consultancy:
› WIP Renewable Energies (Germany): energy consultancy http://www.wip-munich.de

› TerraSystemics (Portugal): energy and sustainability consultancy
http://www.terrasystemics.com/
› Ekodoma (Baltic countries): energy and environmental consultancy
http://www.ekodoma.lv
› Projects in Motion (Malta): energy and sustainability consultancy
http://www.pim.com.mt/
› EnergyAgency.NRW (Germany): energy consultancy and research including technical
development http://www.energieagentur.nrw.de
› ExposantD (Belgium): sustainability consultancy specialising in events
http://www.exposantd.be
› Greenize (Spain): renewable energy and energy efficiency consultancy working with
events and venues http://www.greenize.es/
› Julie’s Bicycle (United Kingdom): energy and sustainability consultancy
http://www.juliesbicycle.com
Energy monitoring:
› Wattson (UK, but available via retailers across Europe): easy-to-use clip-on energy
monitor and display for use in the home and venues.
http://www.diykyoto.com/uk/aboutus/wattson-classic
› Demand Logic (UK): online energy-efficiency system that collects data from and analyses
the efficiency of a building’s BMS (Building Management System) and plant settings,
identifying potential energy savings. https://www.demandlogic.co.uk
› sMeasure (UK): building energy use analysis software to inform energy savings
http://www.smeasure.com/
› MeasureMyEnergy (UK): smart and automatic metering and energy monitoring software
and consultancy http://www.measuremyenergy.com

Energy Suppliers & Production
› Firefly Solar (UK & Europe): solar generators, energy storage systems – specialists in
temporary solar installations but also provide permanent. http://www.fireflysolar.net/
› Midas UK (UK): biodiesel generators http://www.midas-uk.co.uk
› ABPowerhouse (UK): biodiesel generators http://www.abpowerhouse.com/
› Bredenoord (Netherlands, Germany, Denmark): hybrid generators.
http://www.bredenoord.com
› Atlas Copco (UK & International): suppliers of industrial, construction and events
equipment including generators with sustainability at the core of their mission
http://www.atlascopco.co.uk/
› Vindby (Denmark): solar, wind, heat pumps http://www.vindby.com/
› Exide Technology (Int’l): batteries (used by Roskilde) http://www.exide.com/
› Offgrid Energy (UK): specialise in off-grid energy provision, in particular hybrid
http://www.offgrid-energy.co.uk
› Prio Energy (Portugal): biodiesel generators and other sustainable solutions inc. electric
vehicles http://www.prioenergy.com/
› Magnum (France): production company providing audio/lighting/energy and other
services, including a green generator http://www.magnum.fr/?p=352
› Ecotricity (UK): 100% renewable energy tariffs http://www.ecotricity.co.uk/
› Good Energy (UK): 100% renewable energy tariffs http://www.goodenergy.co.uk/
Power/Engagement:
› SolarSoundSystem (France/Switzerland): solar powered sound systems.

http://www.solarsoundsystem.org/
› Electric Hotel (Germany): solar powered telephone charging station.
http://www.the-electric-hotel.com/
› Magnificent Revolution (UK): pedal power. http://www.magnificentrevolution.org/
› Energy Floors/Sustainable Dance Club (Netherlands): energy-generating dance floor.
http://www.sustainabledanceclub.com/
› Syrcas Circus (UK): artist co-operative and company powered by renewable energy who
run a programme of educational work in sustainability and environmental issues and are
available for festival bookings http://www.syrcas-circus.com/
Lighting:
› FocusTrack PowerTrack (UK): software for calculating the energy consumption of show
lighting. http://www.focustrack.co.uk/powertrack
› Philips (EU): manufacturers of a wide range of LEDs
http://www.lighting.philips.co.uk/lightcommunity/trends/led/
› TMB (EU): manufacturer of the Solaris LED Flare; winner of PLASA 2013 Sustainability
Award. Simultaneous color Wash/Strobe/Blinder.
http://www.tmb.com/products/241-solaris-led-flare
› ETC (EU): manufacturers of lighting products and accessories with a focus on
sustainability and efficiency in their product design http://www.etcconnect.com
› Robe Lighting (CZ): lighting manufacturer of some of the industry’s most popular LED
stage lighting (e.g. the LED Series and the LEDWash Series; they also produce LED
Moving Heads and others): http://www.robe.cz/products/category/led-series/

Sound/Audio:
›
Flare Audio (UK): new efficient speaker technology. http://www.flareaudio.com/
›
Funktion One (UK): efficient speaker technology, generally employed in clubs.
http://www.funktion-one.com/
Cooling/Refrigeration:
›
Liebherr/Lemonaid (Germany): highly energy efficient fridges
http://issuu.com/lemonaid.beverages/docs/equipmentkatalog_digital__ku_hlschra_nke_
Latitude Festival, UK by Marc Sethi

6. Good Practice
Examples for energy and carbon saving potentials are provided below:
› Heating, cooling and ventilation: (clubs only) up to 50% of HVAC electricity and 50% of
heating gas reduced through efficient use of fan speeds and timers, use of ambient air
rather than chilled air and update of boilers and chillers;
› Generators and temporary renewable power: (festivals only) 20% of diesel consumption
reduced through efficient sizing and networking of generators, plus further carbon
reductions possible (up to 100%) through the specification of waste vegetable oil
biodiesel, solar powered batteries, wind turbines and kinetic energy systems;
› Permanent renewable power: (clubs only) up to 100% of all electricity de-carbonised
through building integrated or community-scale investments in renewable electricity
generation;
› Lighting: 60% of lighting energy reduced if lighting system is changed to LED lighting
technology;
› Sound: 50% of sound energy reduced through use of active PAs, lower wattage amplifiers
and pulse-width modulation;
› Visual projection: >30% energy saving potential, if new models are used.
For more in-depth information on good and best practice for energy efficient music event
production, the EE MUSIC website hosts how-to resources and guides.
Electric Pedals at Shambala Festival 2013, by Carolina Faruolo

Table 14. Selected overview of good practice examples
Festival Good practice Savings Awards

achieved
Shambala Festival, UK Transition to 95% 88% of energy First organization to
Over 200 diverse non-mineral based power emissions achieve a 3-star
musical acts across 12 through the use of WVO (from 2009 to Industry Green
live stages bio-diesel and six micro 2010) certification from
renewable energy Julie’s Bicycle
suppliers on site
Roskilde Festival, DK Low energy equipment 40% of power
Largest North on stages – all stage consumption
European music lighting based on LED
festival technology
Rock in Rio Lisbon/ 240 PV solar panels for 19 MWh
Madrid 2008 energy during generated with
preparation works. 9 tonnes of
GHG
emissions
saved.
Boom Festival 2008, Use of 45000 Litres of 117 tonnes of European Festival
Portugal waste vegetable oil for GHG Award 2010 –
generators. emissions Green’n’Clean Festival
avoided (fuel of the Year – Greener
switch for Festival Award 2008
generators) and 2010
(Outstanding Prize)
Melt Festival, In 2011 a solar power 10% (expected), Green 'N' Clean
Germany; Europe's plant was installed, due to use of Award 2011
largest indie and producing about 170,000 LED Lighting "Efficient Mobility"
electro music festival, kWh of electricity per systems. Award 2010 of the
attracting 20,000 year and can supply 50 German Energy
visitors per year households with Agency
electricity
Capital FM Arena, It sources 100% of its
Nottingham heat and power from a
Capital FM Arena is local Combined Heat and
located as part of the Power (CHP) plant
National Ice Centre powered by waste.
(NIC) in Nottingham
and features two
Olympic ice rinks.
Please see the EE MUSIC website for a selection of further good- and best-practice case
studies from events and venues across Europe:
http://ee-music.eu

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Energy Efficient

Erik Moholdt / Øya

MUSIC, ARTS AND POLITICAL DISCOURSE

2. Music event production in the EU 2

3. Sector energy and carbon 5

5. Music event production: sector sustainability initiatives and resources 22

1 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

2. Music event production in the EU

A fragmented, uneven terrain.

2 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

Key European Networks and Events

3 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

Shambala 2014, Carolina Faruolo

4 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

3.1 Music industry and carbon

Figure 1. GHG emissions per annum from the UK Music Market:

5 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

3.2 Julie’s Bicycle Data

6 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

Figure 2. IG Tools venue and cultural building users by region:

Figure 3. IG Tools venues and cultural building users by sector:

7 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

Table 2. IG Tools music venue users – size, energy and carbon:

Range Median Total

Julie’s Bicycle Venues and Cultural Building Benchmarks, 2014

› 104 kWh electricity per m2 per year

8 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

Figure 4. Industry Green Tool outdoor event and festival users by

Table 3. Industry Green Tool music festival users

9 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

Count Electricity Bottled Gas Diesel Biodiesel Renewable

Table 5. IG Tools European music festivals energy use and carbon

Count Electricity Bottled Gas Diesel Biodiesel Renewable

Julie’s Bicycle Festival Benchmarks 2014

› 0.7 litres diesel per audience day

10 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

Carbon and Financial Savings

Table 6: Net carbon and financial savings for festivals

2011/12 v 2012/13 Overall

Firefly Clean Energy @We Love Green, France

11 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

12 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

Club Electricity Savings

Table 8. Green Club Index - Gas consumption and savings

Club Gas consumption Savings

Table 9. Green Club Index -Total savings

13 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

14 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

15 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

Energy Cabon Intensity

Boom Festival, Portugal

16 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

Activity Country Unit kg CO2e

17 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

Glyndebourne, UK by Sam Stephenson

18 Energy Efficient Music Culture in Europe: an EE MUSIC study: July 2014

Country Cost (€ cent/kWh), excluding tax Cost (€ cent/kWh), including tax