Energy Efficient Music Culture in Europe: an EE MUSIC study · used for clubnights. The total upwards revision attempts to take these additional spaces into account. Festival statistics

Energy Efficient Music Culture in Europe: an EE MUSIC study

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.

MUSIC, ARTS AND POLITICAL DISCOURSEWWW.ELEVATE.AT

Erik Moholdt / Øya

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

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

Contents


1. Introduction

2. Music event production in the EU

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.

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.

1Dr 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.2First 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. 3Festival 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.

4Estatísticas da Cultura (Gepac, 2011), http://www.gepac.gov.pt/estatisticas-e-estudos/estatisticas.aspx5From UK festival listings site eFestivals, http://www.efestivals.co.uk/news/12/120907c.shtml6http://www.yourope.org/7http://www.live-dma.eu/8http://deconcert.org/9http://www.teh.net/Members/tabid/168/Default.aspx10http://www.associationforelectronicmusic.org/11http://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

12http://www.ilmc.com/13http://festival.eurosonic-noorderslag.nl/en/14http://www.reeperbahnfestival.com/15http://www.amsterdam-dance-event.nl16http://pro.primaverasound.com/17http://mamacolive.com/thegreatescape/18http://www.tallinnmusicweek.ee/192013 European Festival Report (ILMC IQ Magazine, Issue 50, November 2013, pp. 36-44)

Shambala 2014, Carolina Faruolo


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)

20First Step: UK Music Industry Greenhouse Gas Emissions 2007, Julie’s Bicycle (2008)21Please 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.

22Carbon soundings: greenhouse gas emissions of the UK music industry, (C. Bottrill, 2010)23First Step: UK Music Industry Greenhouse Gas Emissions 2007, ( Julie’s Bicycle, 2008)24First Step: UK Music Industry Greenhouse Gas Emissions 2007, ( Julie’s Bicycle, 2008)25What 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)26Reducing 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_digital27Industry 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 (m2) 370 - 37,636 5,000 -

Consumption - kWh

Annual electricity 76,000 – 5,806,000 1,689,000 36,748,000

Annual gas 500 – 4,763,000 947,000 27,523,000

Emissions - tonnes CO2

Annual electricity 30 – 2,600 750 16,400

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 (kWh)

Bottled Gas (litres)

Diesel (litres)

Biodiesel (litres)

Renewable (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 - tonnes CO2e

13 147 3,028 n/a n/a

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

Count Electricity (kWh)

Bottled Gas (litres)

Diesel (litres)

Biodiesel (litres)

Renewable (kWh)

<20,000 attendees

10 42,448 5 6,887 0 0

>20,000 attendees

12 151,746 1,310 113,665 3,700 30,163

Total 22 194,194 1,315 120,552 3,700 30,163

Total emissions - tonnes CO2e

87 2 322 0 0

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.

28Figures supplied directly by Thema1/Green Club Index based on their work.


Table 7. Green Club Index - Electricity consumption and savings

Club Electricity consumption per year in kWh

Savings

kWh per year € per year kg CO2 per year

Savings in %

Club Bahnhof Ehrenfeld

44184 20970 4992 21519 47.46

Bahnhof Langendreer

181649 2945 4521 1758 1.62

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 per year kWh

Savings


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


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 generated

Electricity: Austria kWh 0.18788

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

29Greenhouse 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

30“Quarterly: Industrial electricity prices in the EU for small, medium, large, and extra large consumers” Statistical Data Set, DECC 2014: 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), excluding tax and duty

Cost (€ cent/l), 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

31“International Road Fuel Prices” Statistical Data Set, DECC 2014: https://www.gov.uk/government/statistical-data-sets/comparisons-of-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.

32All figures taken from “Sustaining Creativity Survey: actions and attitudes from the creative community: environmental sustainability 2014” ( 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.

Imogen HeapGreen Operations Awards


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 achieved

Awards

Shambala Festival, UK Over 200 diverse musical acts across 12 live stages

Transition to 95% non-mineral based power through the use of WVO bio-diesel and six micro renewable energy suppliers on site

88% of energy emissions (from 2009 to 2010)

First organization to achieve a 3-star Industry Green certification from Julie’s Bicycle

Roskilde Festival, DK Largest North European music festival

Low energy equipment on stages – all stage lighting based on LED technology

40% of power consumption

Rock in Rio Lisbon/Madrid 2008

240 PV solar panels for energy during preparation works.

19 MWh generated with 9 tonnes of GHG emissions saved.

Boom Festival 2008, Portugal

Use of 45000 Litres of waste vegetable oil for generators.

117 tonnes of GHG emissions avoided (fuel switch for generators)

European Festival Award 2010 – Green’n’Clean Festival of the Year – Greener Festival Award 2008 and 2010 (Outstanding Prize)

Melt Festival, Germany; Europe's largest indie and electro music festival, attracting 20,000 visitors per year

In 2011 a solar power plant was installed, producing about 170,000 kWh of electricity per year and can supply 50 households with electricity

10% (expected), due to use of LED Lighting systems.

Green 'N' Clean Award 2011"Efficient Mobility" Award 2010 of the German Energy Agency

Capital FM Arena, Nottingham Capital FM Arena is located as part of the National Ice Centre (NIC) in Nottingham and features two Olympic ice rinks.

It sources 100% of its heat and power from a local Combined Heat and Power (CHP) plant powered by waste.

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

Energy Efficient Music Culture in Europe: an EE MUSIC study · used for clubnights. The total upwards revision attempts to take these additional spaces into account. Festival statistics

Documents