Green Touring Guide
A guide for musicians, agents, tour managers, promoters,
venues, and booking agencies

Jan Christian Polania Giese
Julian Butz

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Text and editing:
Jan Christian Polania Giese, Green Music Initiative
Julian Butz, kollektif

Project workshop “Green Touring”, Popakademie Baden-Württemberg:
Zora Brändle
Johannes Dam
Anastasia Fischer
Vivian Joana Al Jabiri
Daniel Lenk
Tom Ulrichs

Published by:
Popakademie Baden-Württemberg
University of Popular Music and Music Business
Tina Sikorski
Hafenstraße 33 | 68159 Mannheim (Unesco City of Music)
www.popakademie.de
pws@popakademie.de

In cooperation with:
Green Music Initiative c/o Thema1 GmbHkollektif
EnergieAgentur NRW

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This guide was written forPerformers,

Agents,Tour managers,Booking agencies,Promoters,Venues,and all persons involved in the organization and execution of a tour.

Chapter legend

Mobility

Venue

Catering

Hospitality

Merchandise

Communication

Quick guide to measures

Low-cost implementation:

1

Quickly realized:

2

High communicative impact:

3

High environmental impact:41

Icons made by Freepik from Flaticon is licensed by Creative Commons BY 3.0
Icons made by Freepik from Flaticon is licensed by Creative Commons BY 3.0
3
Icons made by Daniel Bruce from Flaticon is licensed by Creative Commons BY 3.0
4
Icons made by Freepik from Flaticon is licensed by Creative Commons BY 3.0
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Table of contents
1 FOREWORD ............................................................................................................................ 5
2 GET STARTED NOW — SEVEN STEPS FOR GREEN TOURING ...................................................... 7
3 CLIMATE CHANGE AND TOURING............................................................................................ 8
4 BASIC INFORMATION ABOUT THE GUIDE .............................................................................. 10
THE CHALLENGES ................................................................................................................... 10
TARGET GROUPS .................................................................................................................... 11
HOW TO USE THE GUIDE .......................................................................................................... 115 BEST PRACTICES: LOOKING AT WHAT OTHERS ARE DOING..................................................... 13
RADIOHEAD – THE PIONEERS .................................................................................................... 13
WE INVENTED PARIS: PIQUENIQUE ACOUSTIQUE FOR THE ENVIRONMENT ........................................... 15
CLUESO – DIY CLIMATE PROTECTION .......................................................................................... 17
JACK JOHNSON – GREEN TOURING AROUND THE WORLD ................................................................. 19
6 SUCCESSFUL IMPLEMENTATION ............................................................................................ 20
A SHORT INTRODUCTION TO ENVIRONMENTAL MANAGEMENT .......................................................... 20
CATEGORIZING AND SELECTING MEASURES ................................................................................... 21
NAVIGATING THE LABEL JUNGLE — HOW CAN I RECOGNIZE ENVIRONMENTALLY FRIENDLY PRODUCTS? ....... 22
HELPFUL INSTRUMENTS – MEASURE AND MONITOR THE CARBON FOOTPRINT OF A TOUR WITH
CARBON TOOLS .............................................................................................................................. 22
7 MOBILITY ............................................................................................................................. 24
MEASURES: BAND ................................................................................................................. 25
MEASURES: AUDIENCES .......................................................................................................... 27
LABEL ................................................................................................................................. 28
MARKETPLACE ...................................................................................................................... 29
8 VENUE ................................................................................................................................. 30
MEASURES ........................................................................................................................... 31
LABELS ................................................................................................................................ 32
MARKETPLACE ...................................................................................................................... 32

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9 CATERING ............................................................................................................................ 33
MEASURES ........................................................................................................................... 34
LABEL ................................................................................................................................. 35
MARKETPLACE ...................................................................................................................... 36
10 HOSPITALITY ...................................................................................................................... 37
MEASURES ......................................................................................................................... 38
LABELS .............................................................................................................................. 39
MARKETPLACE .................................................................................................................... 39
11 MERCHANDISE & PROMOTION ........................................................................................... 40
MEASURES ......................................................................................................................... 41
LABEL................................................................................................................................ 42
MARKETPLACE .................................................................................................................... 43
12 COMMUNICATION.............................................................................................................. 44
TIPS & TRICKS ..................................................................................................................... 46
MARKETPLACE .................................................................................................................... 49
13 OUTLOOK ........................................................................................................................... 50
14 CREDITS ............................................................................................................................. 51
15 SOURCES ............................................................................................................................ 52

About the authors
The Green Touring Guide was compiled by students from the Popakademie Baden-Württemberg incollaboration with the Green Music Initiative and kollektif. It was written in consultation with booking
and management agencies as well as representatives of labels. In addition to having written this guide,
this group is also the initiator of the Green Touring Network.

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Green Touring Guide | Foreword

1 Foreword
Alternatives for climate change
On December 13, 2015, the majority of governments worldwide finally agreed on a globally binding
climate agreement at the climate summit in Paris, which limits global warming to a maximum of 1.52.0°C (UNFCCC, 2015). It was a move that is as momentous as it is necessary. This demonstrates that
it is not only the vast majority of scientists who recognize the fact that climate change is a threat to
mankind (BMUB, 2015), but also international politics. Even countries like Saudi Arabia, whose main
source of income is crude oil, are on board. This agreement was only possible because there are now
viable alternatives to fossil fuels, which are currently the status quo. Remaining with Saudi Arabia as
an example: This country sees itself as a future leader in the field of solar energy; after all, its oil
reserves will be exhausted at some point.
Business as usual is not an option
Two surveys initiated by the United Nations and the European Commission show that a large
percentage of the world population also views climate change as a threat to their own livelihoods (EUKOM, 2015; WWViews, 2015). Hence, for many people, there is no alternative to combating climatechange — continuing as before is not an option.
This has resulted in more intensive joint efforts being made to formulate detailed plans and measures,
which are in fact being put into action. When doing so, it is important to concentrate on the areas inwhich most of the greenhouse gases detrimental for the environment are generated. These are:

agriculture,the generation of power and heat, andthe transportation sector (Rahmstorf & Schellnhuber, 2007).

What does music have to do with climate protection?
The aforementioned climate-related circumstances are not just abstract. Rather, they are a part ofdaily life both in private routines and when on tour. Just a few minor or major changes can contributeto less greenhouse gases entering the atmosphere and contributing to the global increase intemperature, as well as the resulting environmental catastrophes such as flooding, hurricanes,
droughts, and heat waves.
So it’s just muesli, tents, and acoustic gigs from now on?
Green touring does not mean that from now on, all distances should be traveled by train, all amplifiers
be thrown out, all meals replaced with spelt muesli, and that musicians need to sleep in tents. Instead,
it means that even with just a few prudent measures in many areas, touring can even become more
comfortable for musicians and in some cases cost less and make the live experience more intense forfans (in a positive way!). What we are talking about here are better alternatives! Admittedly, it doestake some getting used to, but it’s something that can be done step by step.

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Green Touring Guide | Foreword
The medium is the message
Even if all major musicians were to significantly reduce their carbon footprint while on tour, theimmediate positive impact on the global climate would still be rather small. After all, the musicindustry’s emissions in no way compare to those of other sectors, such as the automobile or
pharmaceutical industries. So why start here? The strong motivation that led to the compilation ofthis Green Touring Guide is based on the fact that musicians are prominent role models for many
people, or are at least the center of a great deal of attention. If my favorite indie band from the UK
has its shirts manufactured in a manner that is fair and ecological, then I as a fan might look closer atthe origin of my clothes the next time I go shopping. Naturally, it would be a little creepy if all musicians
were to start touring Germany and the world in “Heal the World” fashion, and this is not at all what
we are aiming for.
Instead, we believe that persons and companies involved in tours are experienced enough tocommunicate the issue of going green in a manner that is appropriate for each performer. Discreet
messages, such as entries in the tour log about tasty regional eco-beer from the Uckermark, cancontribute just as much to people in society rethinking their decisions as big gestures, such as
announcing that performances will only take place in clubs with green power from now on.
The Green Touring Guide
With this guide, we wish to point out possibilities and tools for reducing the carbon footprint of a tour
and how this can be communicated without being suspected of “greenwashing”. It contains
suggestions and inspirations for rethinking the way things are done — and we hope that it will also
prepare readers for a music sector that is undergoing a great deal of change.

The authors:
Jan Christian Polanía Giese & Julian Butz

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Green Touring Guide | Get started now — Seven steps for green touring

2 Get started now — Seven steps
for green touring
Drive•Save gas with the tour bus•Contact the Verkehrsclub Deutschland (VCD) to find the most climatefriendly transportation alternatives

Perform•Utilize climate-friendly venues•Use greenclubindex.de to find clubs who are actively helping to protect theclimateEat•Eat better and go easy on the climate•Modify the tour rider or brief the tour caterer: “We would like seasonal,
regional food from organic sources that contains meat/is meat-free/vegan.”

Sleep

Merchandise

Talk•Climate-friendly accommodations•Make bookings via Bookdifferent.com, sort by CO2 and select the appropriate
price/comfort level•Better stuff•Use only tour shirts that are certified organic/sustainable (e.g. GOTS)•The most difficult aspect, as it depends on each individual performer•In general: Show what you do, what your plans are, and where you intend togo7Green Touring Guide | Climate change and touring

3 Climate change and touring
Climate change refers to a change in the earth’s climate, regardless of whether this change is caused
by mankind or not. Over the past 100 years, the average temperature on the earth has increased byapproximately 0.85°C (BMUB, 2015)5. By the year 2100, an increase of up to 6.5°C is expected if
nothing is done to counteract climate change.

Carbon footprint of a tour

9%

34%

VenuesAccomodation
Promo

33%

Merch
Audience Travel
Band Travel
10%
12%
2%

Figure 1 Carbon footprint of the 2014 We Invented Paris tour (source: author’s diagram)This would have catastrophic consequences for mankind, and would change the earth as we know it
significantly. The expansion of deserts, heat waves, droughts, floods, an ice-free north pole, and thescarcity of water and food would make life on this planet significantly more difficult.
It is extremely likely that the increase in temperature is due to a greenhouse effect caused by man(BMUB, 2015).
Humans release a large number of greenhouse gases such as carbon dioxide (CO2) and methane. This
results in the sunlight which is reflected by the earth’s surface leaving the atmosphere only slowly,
thereby causing the earth to heat up, like in a greenhouse.

5

Here is a brief overview of the effects of climate change (in German):www.bmub.bund.de/fileadmin/Daten_BMU/Download_PDF/Klimaschutz/ipcc_sachstandsbericht_5_synthese_bf.pdf8

Green Touring Guide | Climate change and touring
Mankind’s greatest influence on the greenhouse effect is via the combustion of fossil fuels during thegeneration of electricity and heat, as well as through the use of airplanes, cars etc. Furthermore, theproduction of food in agriculture also plays a significant role (Rahmstorf & Schellnhuber, 2007).
Naturally, music itself is not bad for the environment. But at a concert, festival, or on a tour, a large
number of aspects are involved that can be detrimental for the climate.
As can be seen in Fig. 1, the main sources of emissions are the public traveling to the location and theemissions of the venue itself. In figures, this means that for each individual fan who visits a concert,
5kg of CO2 is generated. For a medium-sized gig, this would add up to a total of around 1.5 metric tons
(Siegle, 2012). This corresponds approximately to a one-way flight to New York (Atmosfair, o. J.). To
put these figures in a German context: In Germany, 74.4 million tickets were sold (Statista, 2014)formusic events in 2013. If we assume that each visitor results in 5kg of CO2, this means that a total of
372,000 metric tons of CO2 were released. This would equal 248,000 flights to New York.

x 248,000

Figure 2 CO2 emissions of one concert equal that of a one-way flight from Berlin to New York. If all concerts in Germany wereadded up, this would equal 248,000 flights. (Source: Author’s own diagram; calculations: (Atmosfair, o. J.))

Carbon offsetting
Climate compensation or carbon offsetting describes the option of compensating for the CO2
emissions of a particular activity at another location in a manner that results in lower financial
costs. Hence, a company could purchase certificates that affirm a certain amount of CO2 savings.
The proceeds from these certificates are then used to e.g. support reforestation projects.
However, because this does not result in lower emissions and the amount of greenhouse gas
emissions remains the same, this option is seen as a secondary climate protection measure.

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Green Touring Guide | Basic information about the Guide

4 Basic information about the Guide
Environmental and climate protection are already a matter of common sense in the German festival
scene as well as internationally6. However, in the touring sector, this is not at all the case: Green
touring is still in its infancy. The reason for this was identified in numerous interviews with bookers,
event promoters, as well as the musicians themselves. However, the challenges stand alongside agreat many opportunities — not only for the environment, but also for tour budgets. Last but notleast: Concert visitors could also benefit from this. There are already a few pioneers who havesuccessfully implemented a number of Green Touring measures.

The challenges
Fear of high additional costs.
“Green touring takes up a lot of time and is expensive to implement.”
There are many measures where this is not at all the case. The low-cost measures are labeled asfollows:
and those that require little time to implement, as such:

Unknown terrain.
“Climate protection is a complicated issue, and it's hard to know when to start, if at all.”Man-made climate change is a scientifically proven fact. The most important measures forcounteracting it are labeled as follows:

What are the benefits?
“What do we get out of it? After all, our main job is to make music!”
Relevant economic advantages are possible, but are not the focus of many measures. Instead, themedia-related advantages and the boosting of one’s image are more important here. Particularly
visible measures are labeled as follows:

Suspicions of “greenwashing”“A performer’s image is always at risk. When we start with green touring and announce it, we’ll havecritics breathing down our necks!”
With enough transparency and honest communication regarding the actual goals achieved, you knock
the wind out of critics’ sails. In order to avoid being labeled as an eco-fanatic (raised green pointing

6

Here is a small selection of green festivals: http://www.greenmusicinitiative.de/best-practise/festivals/

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Green Touring Guide | Basic information about the Guide
finger), customized and smart communication is necessary. This is where the Guide comes in byproviding basic pointers and inspiration in the form of case studies.

Target groups
Apart from measures which are expensive and difficult to implement, there is also a large number ofactivities that can be realized with a small or no budget. Hence, the Guide is not only written for bands
that play at major venues, but also musicians who make an appearance in smaller clubs.

Performers

Managers

Bookers

Promoters

VenuesFigure 3 target groups of the Green Touring Guide (source: author’s diagram)

How to use the Guide
The following explains how the Guide can be used with the help of an example. In the chosen example,
a decision is made in favor of a more efficient transportation strategy. Depending on the intention, anumber of the steps described can also be skipped.

1. Obtain an overview
Examinebest
practices

Examine scope of measures

Mobility

Venue

Catering

Hospitality

Merchandise

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Green Touring Guide | Basic information about the Guide

2. Plan (with musicians)
Which areas to become active
in?

Example: Mobility identified as important
issue -> Develop implementation plan

Estimate tour
footprint

Follow musicians’
interests

Recognize
important labels
and use as aid

Select climaterelevant areas

Aspects of apersonal nature

E.g.: Blue Angel

Find providers on
the Marketplace

Use recommended
aids
E.g. ranking list on
fuel consumption
for vans

3. Implement & communicate
Identify representatives

Book vehicle

Communicate

Consider consumption ranking
when choosing vehicle

Where necessary, inform aboutmeasures(s) during tour
Example: Invest cost savings in“Free Band Shirts” promotion

4. Compare & communicate
Communicate
success

Calculate savings & evaluate success€ saved

CO2 reduction

Where applicable, also
speak about failures

Plan catalog of measures fornext tour
Figure 4 Guide design (source: author’s diagram)

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Green Touring Guide | Best practices: Looking at what others are doing

5 Best practices: Looking at what
others are doing
Radiohead – The pioneers
2007 was a special year for Radiohead: The British band led by singer Thom Yorke not only made ahuge impact with their pay-what-you-want model for their album “In Rainbows”, but was also the firstmajor musical act to have detailed CO2 measurements taken of their own tour activities. By doing so,they put the concept of “green touring” on the map for the international media and music creators
for the very first time.
What initially sparked Radiohead into examining their own ecological footprint were concerts in
America where the atmosphere was fantastic, but which almost caused Yorke to permanently
discontinue his tours: The front man was fundamentally put off live shows by the many flights, themassive number of fans who arrived by car, and the excessive consumption of resources (Adam, 2006).
Fortunately, the band chose to take a much less drastic step instead of completely withdrawing fromlive tours — namely a green perspective.
The first thing Yorke and the Radiohead management did was commission the sustainability agency“Best Foot Forward” with compiling a carbon footprint based on values from previous US tours. In
addition to the band and crew, it was also to consider travel to the location and the consumption ofvisitors, which Yorke predicted to be the biggest factor. The 2003 theater tour (in city centers) and the2006 amphitheater tour (at isolated venues) (Best Foot Forward, 2007) served as the basis for theevaluation.

Figure 5 Radiohead Live (source: Michell Zappa, Radiohead in Amsterdam, CC-BY-SA-2.0)

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Green Touring Guide | Best practices: Looking at what others are doing

5.1.1 Overview of the results(Best Foot Forward, 2007)• Amphitheater tour: 9,073 metric tons of CO2 (12 shows)• Theater tour: 2,295 metric tons of CO2 (19 shows)• The fans generated 86% of the CO2 emissions of the theater tour and 97% for theamphitheater tour.
• The CO2 emissions of the fans resulted mainly from the fact that they arrived en masse by car• Most of the emissions generated by the band & the crew came from traveling• Merchandise & catering accounted for approx. 5% of the emissions• Rehearsal, pre-production, tour setup and equipment barely registered
During the course of the data collection, scenarios for future tours were already being compiled, e.g.
traveling by ship, domestic travel by train, festivals instead of headliner shows... Which of these wereactually implemented?
Radiohead went on a concert tour with a comprehensive environmental concept (Triple Pundit, 2008)
for the first time in 2008, which they aptly called “Carbon Neutral World Tour”.

5.1.2 Measures: Fan travel• Concerts exclusively in cities/urban areas with good public transportation• Fans were asked to use public transportation (communication via media partners)• Earlier admission for concertgoers with public transportation tickets• Appeal to fans coming by car to carpool• CO2 calculator and information on climate change on online channels and ticket purchase links

5.1.3 Measures: Transportation & shipping• Rental of two local equipment sets (lighting, video, gear) for Europe and America• Use of local rental sound systems for each tour country• Reduction of shipping weight from a former 20 metric tons to one metric ton (only 12 antique
guitars and some odds and ends in luggage)• Use of trucks with biofuel and vans with the most efficient machines• Use of the most efficient routes and avoiding crew flights

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Green Touring Guide | Best practices: Looking at what others are doing

5.1.4 Measures: Energy, light & sound• Venues were requested to purchase green power from local providers (many venues switchedcompletely to power from renewable sources due to the Radiohead show)• Retrofitting of light show to 100% LED lighting (called an “LED Forest”); highly praised lightshow with a positive effect for the band and the environment• Use of local digital consoles, making it possible to save and use plug & play for sound settings,
thereby avoiding having to transport the console• Re-using half-empty wireless microphone batteries for non-critical or private use

5.1.5 Measures: Communication• Transparent communication of the motivation, the footprint results, and the green measures
via their own channels and third parties (e.g. sustainability blogs)• Inclusion of fans in the issue, thereby sensitizing and encouraging them to change things intheir daily lives as well
• Educating and including the entire crew, collective celebration of green ideas (“Our light
designer Andi Watson took the ecology concept to the maximum!”)
With the “Carbon Neutral World Tour”, Radiohead impressively proved themselves to be forward
thinkers where green touring is concerned, and proved that entertainment and climate protection canindeed go hand in hand. Although the analytical approach may exceed the means of a great many
performers, Yorke’s approach — with a focus on actual CO2 reduction instead of going green for thesake of it — provided important input for the overall live performance market, including for smallerscale performers and agents looking for inspiration on how to contribute to climate protection.

We Invented Paris: Piquenique Acoustique for theenvironment
We Invented Paris is an example of how a local indie band can also take the Radiohead route on asmall scale. This performer collective led by Swiss singer Flavian Graber has existed since 2010, andsince then has made a name for itself as a creative do-it-yourself cell with unusual concert campaigns
such as the “Couchsurfing Europe Tour” or the “Speedgigs” (30 gigs in one day).
In summer 2014, the Paris inventors came together with the Green Music Initiative (GMI, 2014) and a
student-run project group from the Popakademie Baden-Württemberg to come up with an suitableenvironmental concept for their live shows. For this purpose, the recently completed “Rocket
Spaceship Tour” (35 concerts, 12,000 visitors) was examined closely to obtain a carbon footprint that
was as accurate as possible. Subsequently, it was — true to the name of the band — visualized in a
diagram shaped like the Eiffel tower.

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Green Touring Guide | Best practices: Looking at what others are doing

5.2.1 Carbon footprint of We Invented Paris:

Promotion
Band Travel
Accommodation
Fan travel
Merchandising
Venue power≈ 0.6 t CO2≈ 4.1 t CO2≈ 3.1 t CO2≈ 10.5 t CO2≈ 3.6 t CO2≈ 10.8 t CO2

Total emissions:≈ 32.6 t CO2

Per show:
Per visitor:≈ 0.93 t CO2≈ 2.7 kg CO2

Figure 6 WIP carbon footprint(source: We Invented Paris)

5.2.2 Almost a metric ton of CO2 per show?!
It is hard to imagine how much that is, considering that carbon dioxide is a gas. However, if we assume
that one metric ton of CO2 requires a volume of 556.2m3, which corresponds to a cube with sides thatare 8.22m long, the scale becomes clear. 32.6 metric tons (total for the We Invented Paris tour)
corresponds approximately to the CO2 emissions of a festival lasting several days with 3,000 visitors.

Figure 7 How much is a metric ton of CO2?
(Source: Carbon Visuals; Actual volume of one metric ton of carbon dioxide gas, CC BY 2.0)16Green Touring Guide | Best practices: Looking at what others are doing

5.2.3 Development of a green touring concept
Based on the footprint, a sustainable touring concept for We Invented Paris was developed in the next
step. The goal was to compile a catalog of green measures which the band could actually put into
practice step by step. By the 2014 fall tour, a great number of measures had already been successfully
realized.
When booking venues, locations from the Green Club Index received preference, and the routing wasplanned efficiently (no zig-zags, no off days). The technical rider was adapted in all environmentally
relevant areas (“green rider). The request for green power and organic catering was very well-received
by the promoters! Cooking was done together with fans and there were healthy lunch packages on
the road instead of salty snacks. Tour promotion took place almost exclusively digitally, and only small
series of posters were printed on environmentally friendly paper. Furthermore, the band’s
merchandise was produced under fair conditions — a step that an increasing number of performers
are taking that is as social as it is ecological, and one that more and more music fans recognize andappreciate.
But how can all this be communicated!? We Invented Paris came up with an ingenious solution to callthe rather unwieldy issue of “green touring” to the attention of fans and place it in a positive light:
During their appearance at the 2014 Southside Festival, the band invited fans to “Piquenique
Acoustique”, a combination of an organic breakfast brunch and an acoustic concert. This spectacle
took place on the “Green Camping” grounds of the festival. Farmers from the region provided fruit,
vegetables, bread, yogurt, and barbecue ingredients, 500 music fans turned up and listened with rapt
attention — and at the same time the issue of climate change was broached and sung about casually,as that was also the day We Invented Paris released their single “Polar Bears”. Climate protection canbe fun, too!

Figure 8 Piquenique Acoustique by We Invented Paris at the Southside Festival (source: Daniel Lenk)

Clueso – DIY climate protection
Sustainability is unheard of among German performers, you say? Certainly not! Seeed only plays inhalls that use renewable energy, Die Ärzte compensates for its emissions with reforestation, and even
Philip Poisel and Revolverheld engage in environmental management. One of the biggest German
performers for whom climate protection is a matter of course is Clueso. A native of Erfurt, Germany,
he and his “family” from the shared apartment in Zughafen deal with this issue with pleasant calm and17

Green Touring Guide | Best practices: Looking at what others are doing
make no big fuss about their green activities. However, Clueso is really a master when it comes togreen touring!
Starting with the studio, where a great deal was built using recycled materials, to the use of LED lamps(Vogel, 2015) and the climate-friendly cup system: As little as possible should go to waste.
Clueso can count on support from his environment, which “reflects a lot on things and attempts to do
things in a manner that’s cool” (Clueso). Thanks to the structure at Zughafen, which unites the
management, tour management, and ticketing in a single building, innovative ideas can be realized alot quicker than is the case with other performers, who need to convince one partner after the otherof the green idea. This convincing legwork is not necessary with Clueso — here, ecological habits havelong since become part of daily touring operations. This becomes clear when you take a glance at themeasures that Clueso has been implementing for years.
He makes it a point to support local organic catering businesses, consumes mostly vegetarian dishes(and when there’s meat, only the “really good stuff” will do), and even brings along his own cook whenon tours, who purchases on-site local ingredients. His stage outfits are tailored by an environmentallyconscious designer who works with ecological providers. Even his fan shirts are of the highest quality;
they are produced under fair conditions and consist 100% of organic cotton (Loosen, 2015). Printing
takes place right in Erfurt. In addition to being sold at the merchandise stand, Clueso products are also
sold via Fairtrade stores. Clueso is an ambassador for fair trade and categorically rejects
advertisements for “odd companies”. This makes him likeable, just like the fact that he has beencollaborating with Viva Con Agua for many years.
When it comes to sustainability, Clueso relies on friends instead of large companies. This is whereroommates become green consultants. This example shows that you can already do a lot on your own,
and that this issue can be brought to fans’ attention even without large-scale campaigns.

Figure 9 Clueso live (source: Andreas Lawen, Fotandi (Own Work), Clueso Rock Am Ring 2015, CC-BY-SA-3.0)18

Green Touring Guide | Best practices: Looking at what others are doing

Jack Johnson – Green touring around the world
When green touring is mentioned, the name Jack Johnson is often heard. And not without goodreason! For many years now, the singer-songwriter hailing from Hawaii has been going on large-scale
tours where the focus is explicitly on sustainability in production. On his homepage, the performer
communicates in a detailed fashion which measures were taken and where exactly CO2 was saved(Jack Johnson Music, o. J.).

Figure 10 Jack Johnson live (source: Josh Rhinehart, Jack Johnson, Bonnaroo08 jackjohnson2, CC BY-SA 3.0)

In 2014, Jack Johnson implemented green measures in the following areas:
Water: Disposable bottles were completely banned from tour activities and replaced with refillable
water dispensers. These were available everywhere. Fans too could bring their own containers andobtain water at water stations free of charge.
Trash: The goal of the tour was to produce no trash where possible. Hence, only recycled materials
were used. Biodegradable products were composted.
Travel: Trucks for the tour were fueled with biodiesel. A “Jack Johnson Ride Sharing” program wascreated. This encouraged fans to carpool, organize buses, or to travel to the shows by bicycle.
Catering: Contact was established with local farmers who took care of catering locally. This made it
possible to ensure that the catering provided organically grown food.
Merchandise: The merchandise was manufactured completely out of sustainable products, whereby
the focus was on using recyclable materials!

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Green Touring Guide | Successful implementation

6 Successful implementation
A short introduction to environmental management
The best way to have a properly planned green touring campaign is to follow an environmental
management process. (However, if you wish to simply browse through the topic or would like torapidly implement a few measures in a pragmatically minded fashion, simply skip this chapter.)An environmental management system differs from economic management processes solely in its
goal. From the perspective of a band/management:

6.1.1 Plan Obtaining an overview - Where are we now?
o Which aspects of a tour result in the most emissions?
o Approach: Measure the exact CO2 emissions, e.g. with the help of the IG Tools (see p. 22).
o Which environmental measures might the band and others already be implementing?
 Determining requirements - Where do we want to go? What do we intend to achieve?
o Each person and every performer has his own ideas regarding the environment andsustainability.
o Opinions within a band should be discussed and subsequently a summary of the
expectations formulated.
o Setting goals (including long-term ones)•Determine
emissions•Identify core topics•Plan measures•Communicate•Set new goals•Assign
representatives•Implement
measures

Plan

Do

Act

Check
•Verify
implementation of
measures•Monitor
effectiveness

Figure 11 The environmental management cycle (source: author’s diagram)

20

Green Touring Guide | Successful implementation

6.1.2 Do, check & act
 Assign representatives for certain areas Implement the measures as planned
 No later than by the end of the tour, verify if the planned measureso were in fact implemented
o actually achieved their desired effect Begin communicatingo what was doneo what worked
o where improvement is necessary Communicate all points internally. Before releasing information to the outside, it is vital thatit be reflected on and plans be made on how exactly to communicate it.
 Finally: Formulate new goals and/or work on old goals that were not achieved — it is notpossible to do everything at once, everything has to be done step by step (Sounds for Nature,
2013)

Categorizing and selecting measures
The following chapters introduce a wide range of different measures. However, they differ
significantly in terms of their positive effect on the environment and their media impact, as well as interms of the resources required.

Costs• Time and effort• Savings

Environment

Time• Relevance• Time andeffort• Savings

Communication• Visibility

Figures 11 Decision-making spheres (source: author’s diagram based on (Bilabel, 2015))

21

Green Touring Guide | Successful implementation

Navigating the label jungle — How can I recognize
environmentally friendly products?
There is a wide range of product labels which differ from each other in terms of quality and informativevalue. Hence, it is easy to get lost, and sometimes you might not know if what you are doing will evenbe good for the environment in the end. At the moment, the European Commission is tidying up thejungle of labels as part of a comprehensive initiative7 . However, until that happens, you will need toknow how to navigate it some other way. In the individual chapters, selected labels will be presented
that, in the opinion of the authors, are highly informative and point out environmentally friendly
products. For further information on this topic, please consult the following independent websites:
www.label-online.de (operated by the consumer advice center)www.siegelklarheit.de (operated by the federal government).

Helpful instruments – Measure and monitor the carbon
footprint of a tour with carbon tools
The British environmental organization Julie‘s Bicycle is a pioneer in the field of green touring, andpublishes scientifically well-founded reports and guidelines in this area at irregular intervals (Julie’s
Bicycle, 2010, 2015c). Furthermore, Julie‘s Bicycle also developed a tool which allows users to easily
measure the carbon footprint of a tour or an event: The Industry Green Tool (IG Tool) (Julie’s Bicycle,o. J.). The carbon footprint refers to the total quantity of carbon dioxide (CO2) emissions generated
directly or indirectly during all activities related to a tour. In addition to CO2, there are also otheremissions detrimental for the environment generated during various activities. However, they areconverted to their equivalent CO2 value. For example, methane is 16x as detrimental to theenvironment as carbon dioxide, which is why 1 kg of methane is converted to 16 kg of CO2. This tool,
which was originally developed for British bands, offers a good overview of the major emission sources
on a tour when used. It also allows multiple tours to be comparedwith each other and improvements to be displayed, and can be found here:
http://www.juliesbicycle.com/services/ig-tools

7

The information provided comes from the environmental footprint initiative of the European Commission,
which aims to create more transparency and clarity in the field of sustainable consumption. More info:
http://europa.eu/rapid/press-release_IP-13-310_de.htm

22Green Touring Guide | Successful implementation

Figure 12 IG Tool screenshot (source: http://www.juliesbicycle.com/services/ig-tools)

23

Green Touring Guide | Mobility

7 Mobility

Figure 13 (source: Francois Schnell, A cyclist in Tyrol (Austria), CC BY 2.0))24

Green Touring Guide | Mobility
The largest amount of CO2 generated as part of a tour comes from the kilometers traveled. Naturally,
the band itself is also responsible for a fair percentage of this, as it needs to travel across the country,
and travels a lot by car or bus. However, most of this comes from “audience travel”, i.e. fans who
travel to the band’s shows. It is important to find an environmentally conscious solution both for one’s
own travel needs as well as those of the fans.

Measures: Band
7.1.1 Choice of transportation
 Transportation hierarchy: Whenever possible and reasonable, the following hierarchy should
be adhered to when selecting the means of transportation.
1. Traveling by train (night train on longer routes)
2. Car or tour bus
3. Taking a plane
The fact that flying results in a great deal of CO2 emissions is known even to small children. But what
do the emissions values look like when various means of transportation are compared? The German
Federal Environment Agency (UBA, 2012) published a diagram (Fig. 14) on this which compares theCO2 emissions:Figure 14 Comparison of emissions for various forms of passenger transportation (UBA, 2012)

The diagram allows an initial and quick comparison of means of transportation based on their CO2
emissions, and shows that e.g. a flight results in five times the CO2 emissions of a train trip. Naturally,
the emissions per tour also depend on the capacity utilization of the corresponding means oftransportation.

Julian Hölscher, Handshake Booking•“Many of our bands have the backline provided on site and now travel
exclusively by train. Taking the train is great: Comfort and environmental
protection. Domestic German flights are strictly out of the question for
us.”•Performers: (among others) Balbina, Berge, Akua Naru, Jasmin Tabatabai,
Meret Becker, Kadebostany

25

Green Touring Guide | Mobility

7.1.2 Thrifty vans
 During long-term planning of a tour and where the choices on offer are wide enough, a van
with a low gasoline/diesel consumption should always be chosen. This not only protects theenvironment, but also saves on costs.
 How can these thrifty vans be found?
o Use a rental agency/car sharing provider that e.g. has been awarded the “Blue Angel” andonly has the most efficient models on offer.
o The Verkehrsclub Deutschland (VCD, 2014) has released a CO2 ranking for vans:
https://60plus.vcd.org/fileadmin/user_upload/60plus/versorgen/140325_vcduebersicht_transporter.pdf
o Simply ask the car rental agency.
o Natural gas vehicles: Vans that run on natural gas instead of diesel exhibit a much bettercarbon footprint, and are also cheaper to drive. The natural gas station network is now
well-developed, and many vehicles now also have an additional gasoline tank for
emergencies. Problem: Only very few car rental companies have small vans that run on
natural gas; however, the situation is better for passenger cars.

7.1.3 Linear routing When the tour is planned in advance: Avoid detours and zig-zag trips
 Speak to promoters and promoters to avoid “idle” spots on the map Avoid one-off stops

Figure 14 Linear routing: We Invented Paris tour, fall 2014 (source: Google Maps)

26

Green Touring Guide | Mobility

Dominik Schmidt, Grand Hotel van Cleef Booking•“We pay attention to efficient routing. Not only because of financial
aspects, but also due to environmental concerns!”•Performers: (among others) Children, Lake Poets, Hello Piedpiper

7.1.4 Keep the number of required vehicles low

Keep the travel crew small.



Pack efficiently and, where possible, share backlines with support acts.



Local support instead of tour support that is “brought along”; local bands have short distances
to travel and generally do not require accommodation.

Measures: Audiences
7.2.1 Use public transportation to get there

Offer concert tickets combined with a public transportation8 ticket.

Speak to promoters if this is done regularly. If yes, it is a big step to getting audience members
to travel in a climate-friendly fashion.

With Cologne as an example: The “Kombiticket” option allows promoters in Cologne to bookvia KölnTicket.



Note:
o Consider whether your clientele might travel by public transport or by bicycle regardlessdue to the parking situation or the economic situation (e.g. students).
o The fewer the number of tickets sold, the greater the percentage spent on public
transportation; i.e. at some point, it will no longer be profitable.

7.2.2 Unmotorized travel8

Event venues should be at a central location and easily accessible on foot or by bicycle.

Bicycle parking areas should be available. This should be communicated clearly on the
homepage, in invitations, and on the event pages (e.g. Facebook).



If it is not obvious whether unmotorized travel to the venue is possible: Ask the promotersand request that this be communicated clearly.

“ÖPNV” (Öffentlicher Personennahverkehr) in German

27

Green Touring Guide | Mobility

7.2.3 Car-sharing on website / Encourage carpoolingFor event locations that are not easily accessible by public transportation, consider integrating
a car-sharing platform on the website. This also attracts visitors who are unable to come to a
performance due to the lack of transportation.



Alternatively: Encourage fans to carpool.

Figure 15 Die Toten Hosen concert, Freiburg 2013: In order to reduce the number of motorized vehicles used, an additional
17,000 bicycle parking spots were designated and advertised. Source: (Freiburg.de, 2014)

Label

Blue AngelCar sharing companies awarded the Blue Angel have pledged to e.g. make their fleet climatefriendlywww.blauer-engel.de/de/produktwelt/haushalt-wohnen/car-sharing
Blue Angel: Category“Protects theenvironment”

28

Green Touring Guide | Mobility

Marketplace

7.4.1 Mobility portals
Transportation comparison for specific travel routes:
Green Mobility:

www.greenmobility.deDeutsche Bahn AG:

www.bahn.de

7.4.2 Comparison of van models
Verkehrsclub Deutschland (VCD):
http://60plus.vcd.org/fileadmin/user_upload/60plus/versorgen/140325_vcduebersicht_transporter.pdf

7.4.3 Vehicle rentals with environmental criteria
Car sharing providers are not conventional car rental companies, but they make itpossible to rent vehicles such as vans for longer periods of time. Calling in advance isrecommended:Overview: Blue Angel category car sharing:www.blauer-engel.de/de/produktwelt/haushalt-wohnen/car-sharing



TeilAuto:

www.teilauto.net/carsharing.php

Stadtmobil:www.stadtmobil.deCambio:Europcar:www.cambio-carsharing.de
www.europcar.de/mietwagen-flotte(allows pre-sorting of efficient models)

7.4.4 Carpooling platforms
A number of carpooling platforms offer audience members from other regions the optionof organizing carpooling trips:


Mitreisen.net

www.mitreisen.net/scripts/trip/trips2event.php

29Green Touring Guide | Venue

8 Venue

Figure 16 (source: We Invented Paris)

30

Green Touring Guide | Venue
As a band or booker, one has almost no direct means of influence for reducing the carbon footprint of
the relevant event venue, but the selection of a venue that has proven itself to be more climatefriendly can send a powerful signal.

Measures8.1.1 Book green clubs
 It is important and correct to promote clubs that are already investing in climate protection— this also reduces the footprint of your own tour.
 Green clubs are not always easy to spot, but here are a few pointers:o Participant in Green Club Index or Clubmob (see Marketplace)o Uses green power (and communication via website etc.)

8.1.2 Stage equipment used/brought along: Savings from LED
 New, superior models of LED lights allow conventional lighting to be done away with (almost)completely (except for larger-scale TV recordings).
 LED lights are more economical in direct use and can be turned on and off (or set to black)
without having to worry about damaging them.

Sophie Mathes, Pennywine Entertainment•“When discussing which lights to place on stage with our performers, we
generally decide on energy-saving LED lamps.”•Performers: (among others) Mine, NOVAA

8.1.3 Measures for club operators
 There is a wide range of technical options and behavioral changes that can reduce the energy
consumption of clubs.
 Great emissions and cost reductions can be achieved through a large number of low-costmeasures alone.
 The EE Music Guide offers a good summary of efficiency measures for small and mediumsized clubs (EE Music, 2014):
http://ee-music.eu/uploads/images/site/325/contentgruppe1_text22/DE_T3_Handbook.pdf

31

Green Touring Guide | Venue

Labels

8.2.1 Green Club LabelThe Green Club Label is a certification program for energy-efficient clubs. Developed by the
Energieagentur
NRW and the Green Music Initiative.
Green Club Label

8.2.2 Green power label
Among other things, the green power label was also introduced to guarantee that the green
power utilized is not only 100% from regenerative sources, but also that the sale of every
kilowatt hour is used to promote the expansion of renewable energy.

Green power label

Ok Power label

Marketplace

8.3.1 Green clubs
A green club is defined as follows: A club which implemented energy efficiency measures
after a professional energy consultation and/or is a user of green power.
Green Club Index:

www.greenclubindex.de/clubs/(Overview of clubs which have taken part in theGreen Club Index or Clubmob; incl. energy
consulting)

Examples of other green clubs:Rote Sonne, Munich

http://rote-sonne.com/



Glockenbachwerkstatt, Munichwww.glockenbachwerkstatt.de/Jazzkeller Cotton Club, Hamburg

http://cotton-club.deGloria, Cologne

http://gloria-theater.com/

SO36 Berlin

http://so36.de/32

Green Touring Guide | Catering

9 Catering

Figure 17 (source: Green Touring Network)

33

Green Touring Guide | Catering
Where catering is concerned, musicians can literally experience the positive effects for themselves, as
the measures taken in this area can significantly increase the quality of the food. However, catering is
not just an issue that affects the band, as well-planned initiatives can directly involve the audience as
well.

Measures9.1.1 Basic rules: Seasonal, regional, and ecological Seasonal and regional dishes reduce the carbon footprint, as no energy is wasted oncomplicated storage, nor on transportation over long distances.
 Ecological food can also constitute a climate-friendly alternative:o In field crops (e.g. wheat), a more “natural” method of cultivation without artificial
fertilizers causes more CO2 to be stored in the ground, where it does not contribute to
global warming. (Lindenthal, Markut, Hörtenhuber, Rudolph, & Hanz, 2010)o In organic meat products (beef), soy feed from South America is not used at all, thereby
protecting the rainforest and the climate.
 Consuming less meato A vegetarian meal with the same nutritional value has an approx. 1/3 smaller carbon
footprint than a meal with meat.
o Those who do not wish to forgo meat completely can e.g. introduce meat-free days(“veggie Friday”).
 In German households, 40% of food purchased is thrown out. There are no figures specificallyfor the touring industry, but food is also wasted here: Communicate the number of required
meals clearly!

Lukas Föhres , Melt! Booking•“We advise bands to choose buy-outs over afternoon catering, as at least
half has to be thrown out in the latter case. Furthermore, we offer mainly
vegetarian meals that are as seasonal and regional as possible, and avoidsausage products whenever possible.”•Performers: (among others) Still Parade, Pool, Wyoming, Sea Moya

34

Green Touring Guide | Catering

9.1.2 Implementation: Green rider, briefing & buy-outs
 Addition of points to tour rider
 Ensuring that the tour chef traveling along or the caterer is well-briefed Negotiate buy-outs and actively choose which food to eat

Timo Kumpf, Karakter Live & Maifeld Derby•“Sustainability is an important issue at our ‘Maifeld Derby’ festival. Mostof the bands we work with now have a technical rider in which regional
food is preferred.”•Performers: (among others) Wallis Bird, The Hirsch Effekt, Charlie Barnes,
Funeral Suits, Anais Mitchell, Keston Cobblers ClubLabel

9.2.1 Labels of an ecological nature
In Germany, there are almost no labels that indicate whether a product (compared tosimilar products) is better for the climate than another one. An organic label only indicatesthat the product was produced according to certain environmental criteria (no use of
artificial fertilizer, no use of particularly detrimental pesticides etc.). Often, organic
products are also better for the climate, as energy-intensive fertilizers are not used, and thecultivation methods fix CO2 in the ground. However, the positive effects may be neutralized
if the products need to be transported over long distances. However, organic labels remain
a good aid in combination with the aforementioned measures (seasonal & regional).

Cultivation associations with stricter
environmental criteria than organiclabels.

Organic label

EU organic label(identical to organic label)

Demeter e.V.

Bioland e.V.

35

Green Touring Guide | Catering

9.2.2 Labels that are explicitly climate-friendly
It is not easy to tell whether a product is truly good for the climate. However, there are anumber of labels that clearly state that measures were taken during production that reduce
the negative impact on the climate.

REWE PRO-Planet

Rainforest AllianceMarketplace

9.3.1 Green caterers
 Veggiefinder

www.veggiefinder.de/de/bio-catering/plzsuche.html

 Butterstulle (Berlin)www.butterstulle.de Red Star Cateringwww.redstarcatering.de Rock n Roll Cateringwww.rocknroll-catering.de Rote Gourmet Fraktion

www.rotegourmetfraktion.de36

Green Touring Guide | Hospitality

10 Hospitality

Figure 17 (source: We Invented Paris)

37

Green Touring Guide | Hospitality
For the issue of accommodation, it first needs to be clear what general standard is desired. If thebudget is small, the selection of accommodation options is almost automatically climate-friendly.
However, even in higher price classes, the right choice can also protect the climate and theenvironment without otherwise having to make compromises.

Measures10.1.1 Booking environmentally/climate-friendly hotels


As is the case with clubs, choosing the right location is an opportunity to reduce the carbon
footprint.



Low budget: Hotels with a lower price class often have a lower carbon footprint per guest, as
the rooms are smaller and less energy is consumed for extras such as pools etc.



Low energy: Other hotels have invested a lot in energy efficiency, allowing them to consumeless energy while offering the same level of quality and luxury.
• Can be identified by a smaller carbon footprint (see Marketplace)• Identified by environmental certificate (see Label)

10.1.2 Use of private accommodations


According to a study (Heinrichs & Grunenberg, 2012), the “sharing economy” is an option for
reducing environmental impact.

Providers such as Airbnb or Wimdoo provide the corresponding commercial platforms for thispurpose.



One other option is couchsurfing, i.e. spending the night at a friend’s or fan’s place (e.g. via
couchsurfing.com) – however, at higher levels of professionalization and with frequent
touring, this is certainly no longer an alternative.

Stefan Honig, performer•“The greenest tours are those you have as a young band, where you sleep
over at a friend’s place, have acoustic living room gigs, and cook foryourself. When you no longer want to do that, but still wish to continue
utilizing climate-friendly accommodations, you simply have to write that
into your hospitality rider as a request.”•On the road as “Honig” and with “Tour of Tours”

38

Green Touring Guide | Hospitality

Labels

10.2.1 Hotel Labels
A number of hotels possess an environmental certificate which proves that environmental
measures were taken. Often, only larger hotels have such certification.

EMAS

Austrian environmental logo
(State/EU initiatives)

Green KeyGreen Globe(Private initiatives)

Marketplace

10.3.1 Green hotels
One great help when searching for environmentally friendly hotels is the BookDifferent
portal (www.bookdifferent.com), which allows hotels to be sorted by city and thefollowing: carbon footprint / environmental certification / price10.3.2 User reviews•

Crowne Plaza Hotel Hamburg - City Alster: www.crowneplaza.com/Hamburg
 Smaller carbon footprint and Green Key certification•

Hotel Residence at Hamburg main stationwww.hotel-residence-hamburg.de Very small carbon footprint•

Scandic Berlin Potsdamer Platz:
http://www.scandichotels.de/Hotelsuche/Deutschland/Berlin/Berlin-PotsdamerPlatz/
 EMAS-certified•

Burns Art Cologne: http://www.hotel-burns.de/hotel-koeln.aspx
 Small carbon footprint

39

Green Touring Guide | Merchandise & promotion

11 Merchandise & promotion

Figure 18 (source: Jake Miller, CC BY-ND 2.0)40Green Touring Guide | Merchandise & promotion

Measures
Merchandise can play a major role in the carbon footprint of a tour. For the We Invented Paris tour,
for example, it accounted for 11% of total carbon emissions. The emphasis is on textiles (t-shirts, cloth
bags etc.) and recording media. Even in the field of promotion, there are options for reducing
emissions. For example, through the reduction of printed materials, the use of ecological paper, andfocusing on digital PR measures.

11.1.1 In general: Do not produce disposable articles
Offer high-quality items that do not land in the trash immediately.

11.1.2 Textiles
Particularly in the textile industry, the social impact is currently at the focus of public attention, but
its effects on world climate should not be neglected.
Ensure that high-quality materials are used, as the lifetime of an article of clothing also has an
influence on the environment: The longer T-shirts can be worn, the more climate-friendly theyare. Good quality can also be a calling card for the performer.

Use T-shirts certified as having an ecological or environmentally friendly manufacturing
process.

Use vintage fabrics and upcycling materials: Textiles that are not manufactured from scratch,but instead simply printed on or sewn together go easy on the environment.

Chris Kregl, Redroad•“My goal is for all Bilderbuch shirts to be green, because it’s good for theenvironment and quality — and because I don’t want children sewing ourmerch.”•Performers: (among others) Bilderbuch

11.1.3 Promo

Use more paperless alternatives (social media, mailing lists, ...)

100% recycled paper should be the first choice; otherwise paper that is manufactured in anenvironmentally friendly manner

Use old posters as packaging/shipping material for new postersGive old stage banners to upcycling workshops, who use them to make bags

Florian Brauch, SPARTA Booking GmbH & Co. KG•“We produce all our printed materials with carbon balancing, and the
majority of our bands have their shirts produced fairly.”•Performers: (among others) Heisskalt, von Brücken

41

Green Touring Guide | Merchandise & promotion

11.1.5 Recording media
An American study (Weber, Koomey, & Matthews, 2010) showed that the carbon footprint of digital
albums is smaller than that of physical recording media. Due to the musical and cultural significanceof CDs and vinyl, we will not be conducting a comparison. However, we recommend the following
measure:

Use CD packaging made of cardboard. This can reduce the footprint of the packaging by 95%
as compared to a jewel case (Julie’s Bicycle, 2015b)

Label

11.2.1 Textile labels
Similar to other areas, there are very few ways to distinguish whether textiles were
produced in a climate-friendly manner. Hence, labels will be introduced which indicate amore climate-friendly production. Because social aspects also play an important role in the
manufacture of clothing, they will also be introduced.

Climate & the environment

Organic label

EU organic label(identical to organic label)

Sustainability (social & ecological)

Global Organic Textile Standard
Social (exclusively)

Naturtextil
Fair Wear Foundation

11.2.2 Labels for printed materials
Ecologically manufactured paper

Cellulose from sustainable forestry

42

Green Touring Guide | Merchandise & promotion

Marketplace

11.3.1 Green textiles


Get Changed

www.getchanged.net

Kirsten Brodde: Grüne Liste

www.kirstenbrodde.deContinental/ Earth Positivewww.continentalclothing.deGood Society

www.goodsociety.org



3Freunde

http://3freunde.de/

11.3.2 Green printersSebastian Backhaus Blog: Ecological printers
http://www.sebastianbackhaus.de/wissen/oeko-druckereien/Druckhaus Berlin-Mitte: http://www.druckhaus-berlin-mitte.de/

Oktoberdruck

http://www.oktoberdruck.de/

von Stern'sche Druckerei

http://www.vonsternschedruckerei.de/

Uhl-Media

http://www.uhl-media.de/

11.3.3 Info box: Climate-friendly instruments

The main purpose of a guitar, a bass, a percussion instrument, or a piano is of course: To
sound good! This requires premium materials; most of all good wood. Hence, this is why
manufacturers use precious woods such as mahogany, ivory, or rosewood. However, suchwood comes from rainforests, and many of these tropical woods are protected species andthreatened by extinction. Despite this, they are harvested illegally. Certainly, the musicindustry only plays a small role in this — but a glance at the figures (3 million guitars are soldannually in the USA alone!) and the developments over the past few years (“Gibson Affair”
involving illegal Madagascar rosewood) show that musicians also have a responsibility here.
So how can I contribute to a more sustainable treatment of natural resources through mychoice of instrument?


Use only instruments with an FSC logo

Make it a point to share/rent instruments instead of constantly “hoarding” newones

Keep an eye out for used instruments that are second/third/fourth/etc. hand

Use instruments from regional craftsmen and speak to them about the topic;
Lakewood Guitars from Gießen offers e.g. guitars made of local wood43

Green Touring Guide | Communication

12 Communication

Figure 19 (source: We Invented Paris)

44

Green Touring Guide | Communication
Communicating your environmental measures to the public often constitutes a huge challenge for
performers and their business partners. After all, the way green issues are broached need to match
the performer’s profile! It needs to be authentic, otherwise it could raise suspicions of“greenwashing”. And those who do not wish to be labeled as ecological fanatics should definitely notstart pointing fingers when communicating about environmental topics. Above all, the issue should
be enjoyable for everyone and “feel as normal as brushing one’s teeth” for the performer, the crew,
and the fans, and gradually establish itself as a fixed part of production and performer DNA.
Green touring is a young field; as a pioneer, you often have to rely on your own gut feeling. It can belike walking a tightrope at first, but it’s worth taking the first step! That’s because a well-managed
green performer strategy can achieve a lot:

It can make an enormous contribution to a cultural paradigm shift in society: Enlightened,radical performers have always played a key role in fighting dogmas and the large-scale
establishment of new patterns of thought — so why not also in the transformation towards amore sustainable society?

Fans, the media, and potential partners will see that a performer is taking responsibility in anarea that, in the musical context, was almost exclusively handled by festivals in the past. Thisnot only makes possible partnerships with NGOs and sponsors — it also establishes theperformer’s reputation as a forward-thinking pioneer.

Green touring means taking a hands-on approach to the thematic behemoth of climatechange. Ideally, unforgettable moments of surprise will be created which go far beyond what
involved parties are familiar with where climate protection is concerned. When a performer
engages in credible environmental protection in a live context, then fans will embrace it —and take it home with them.



A green strategy provides exciting content for storytelling and, in this manner, adds anotherdimension to the performer’s image. Everyone can decide for themselves how offensively
they wish to communicate this!

Green touring can be important leverage for protecting the climate and the environment: After all, a
good role model can inspire many others to act.
There is no one-size-fits-all solution, but a number of things that should be paid attention to (see Tips
& tricks in the next chapter).

45

Green Touring Guide | Communication

Tips & tricks
12.1.1 Involving the fans
The most credible communication comes from others. Hence, it is crucial that fans are involved in thecommunication from the very beginning. This takes place either via joint activities (“Piquenique
Acoustique” by We Invented Paris) or easy access to objective information, e.g. the mentioning of
ecological catering in the tour log or information on the origin/manufacturing of merchandise at themerchandise booth.
What is important here is knowledge of the fans:What interests them and what values do they stand for?



What is their attitude towards sustainability?

What are their expectations of the performer?

Which (media) channels do they use?

Those who manage to turn their fans into loyal green partners, who themselves become“sustainability ambassadors” by developing a sharp eye for merchandise products, catering
circumstances, or traveling (!) have already achieved a lot.

12.1.2 Involving third parties
Another important pillar in environmental communication are third parties: It would be a good idea
to e.g. regularly inform major players such as Julie’s Bicycle or the Green Music Initiative about yourown green touring activities. These organizations are leaders in the green music movement; theyreport on new, innovative tour approaches or include them as best practices. Furthermore,sustainability media such as Futur Zwei (Stiftung Zukunftsfähigkeit), eco me eco you, Manomama,
Sebastian Backhaus’ blog and the Greenpeace blog should be included in the press mailing list (links
in Marketplace chapter). Communication via such players creates credibility and also introduces thisgood cause to new target groups that might not be accessible via the usual music media. Persons andcompanies from the sustainability scene possess the corresponding expertise, which is why ideally,
these “green artists” should gradually become permanent collaboration partners.

12.1.3 Holistic communication
The most powerful communication channel on a green tour is certainly the live experience. Here, fans
are willing to experiment and are detached from their daily routine for a few hours. Experienceable
measures (recycling, water dispensers, “smoothie bikes”, bicycle discos, solar charging stations etc.)
and directly addressing them from the stage or at the merchandise stand create a direct bridge
between visitors, the band, and environmental protection. The concert provides a space to show thatclimate protection is not arduous and can be a lot of fun. Despite this, a green touring concept is only
sustainable if all these activities are communicated in a prepared form via the performer’s social media
channels or PR agents. What is important here is choosing the right method of address and“translating” the environmental aspect into the language of the corresponding recipients: In general,the press release for media partners should look different from the news sent to fans, who will46

Green Touring Guide | Communication
probably respond better to personal photos and videos than CO2 statistics. Despite this, it is exactly
this information that fans should be made aware of, and e.g. be made available in the form of a green
section on the website.

12.1.4 Don’t be afraid of speaking green
Being green makes you an eco-hippie? That hasn’t been true for a long time. Sustainability is notwithout reason a major topic in all areas of life — and going green, organic, or vegan does notnecessarily have anything to do with a political attitude nowadays — it has simply become a part ofdaily life for a growing number of people.
Naturally, no performer should feel obliged to join this movement, but if you are already living
according to these principles, or if this issue is close to your heart, why not speak about it? Sure, inareas where climate protection is already working well, sustainable decisions have long becomeroutine, and nobody keeps saying: “I’m now green”. But the touring industry is still in its infancy in thisrespect, and there is still a lot of room to grow where climate protection is concerned. If more andmore performers were to start approaching and broaching the topic, then one day, there will not only
be Jack Johnson and Radiohead, but many more prominent examples.

Sven Hasenjäger, 380grad•“Sustainability has long become a central issue in today’s generation of
performers. There are areas where a little more effort is required to go
green, but that has never been a problem with our performers, because
it’s something the clientele pays attention to and appreciates.”•Performers: (among others) Olafur Arnalds, BOY, LAMBERT, Kiasmos

12.1.5 Keep it positive
If you’re only engaging in climate protection due to a guilty conscience, you won’t get very far. And
when the environment constantly gives you the awful feeling that the planet is facing impending
armageddon, that’s rather demotivating for the implementation of climate-friendly measures. Thereis not much point in trying to convince people to protect the climate! The motivation must come fromwithin, and be fed with affirmative input. Hence, a green tour and the associated communication
should, above all, be enjoyable and trigger positive associations. Jacob Bilabel from the Green Music
Initiative, for example, has eliminated the overused words “sustainability” and “climate change” fromhis daily vocabulary. Instead, he uses terms such as “innovation” or “creativity”. After all, these are
the attributes which are central to going green! Above all, climate protection should be approachedhands-on in the music context, with a positive basic attitude. And most of all: Celebrate yourachievements! Celebrating and sharing successes together — even if they are only minor ones at first— are definitely part of the sustainable green artist strategy.

47

Green Touring Guide | Communication

12.1.6 The little things
Ecological measures are often not implemented or postponed by artists because they have so manyother things to take care of. Small bands are often glad to be able to go on a tour at all, or be able toafford a tour bus, merchandise etc. That is entirely understandable — but these circumstances should
not serve as excuses to divest yourself, as a performer, of responsibility. There are many little things
that do not require extra effort, and which you can then also speak of on a small scale! This includes
e.g. measures such as printing double-sided, using mugs instead of disposable cups, upcycling banners
to make bags etc. Even Julie’s Bicycle (2015a) recommends in its communication guide that these little
actions be spoken about, but not focused on. After all, every little step, no matter how small, is
important on a CO2-reducing tour; it all only works step by step!

12.1.7 Avoid greenwashing
Performers who claim to be green even though they only implement a few measures (but perhaps
with a great deal of media impact), are engaging in greenwashing.
What are the best ways of protecting oneself from accusations of greenwashing?
Transparency: Reporting about what you do and what you have planned to reduce yourcarbon footprint. Also, where applicable, explain why you do not wish to participate in certain
allegedly green actions.



Evaluation: Surveying fans and partners as well as evaluations and preparation contribute tounderscoring your own actions with figures.



Avoid absolute statements: “We are on the way to becoming a green band” instead of “We
are the greenest band in the world”.



Reinforce what already exists: Do not artificially force an image, but instead boost it byshowcasing what is already there (e.g. conscious nutrition).



Collaboration with credible partners: Carrying out green measures with establishedsustainability professionals reinforces your own credibility

12.1.8 Improve the experience: Enjoyment instead of abstinence!
Whatever the case, a green concert should definitely not feel like the light version of a “normal”
concert. Quite the contrary: Instead of compromising in order to reduce your carbon footprint (e.g.
always performing without amplifiers or only offering water and oatmeal), green touring should be
about enhancing what is already a premium concert production via a green approach! This begins withthe experience on site (“Wow, that’s really tasty food”, “These shirts feel awesome!”, “Cool, there’s amonitored parking space for my bicycle”), and should transition seamlessly to the communication: By
now, people have been told once too often what they are not allowed to do, and this has turned themoff climate protection. Musical performers can change this by eliminating “You’re not allowed to do
that!” from their communication and instead showing that “eco” does not mean having to give up
something, but instead increasing quality (of life).

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Green Touring Guide | Communication
According to Julie’s Bicycle, a large percentage of purchasers now prefer the natural CD covermade of recycled paper instead of the traditional plastic jewel case. The digipack made of paper
is significantly more climate-friendly, and even feels better. The growing success of this type of
packaging is also due to the fact that major artists such as Coldplay and Neil Young haveconsciously switched to it. Someone has to start!

12.1.9 Tailoring communication to the performer
The be all and end all of every successful green artist strategy is the fit between the performer and hisgreen activities: Any measure will appear forced if it does not fit the performer’s image. Hence, only
things which are important to the performer and his team personally and which they can credibly
represent should be placed in the limelight. For this purpose, discussions between the performer, hisband, his crew, his management etc. are necessary! Green touring can only work if there is agreementon why certain green measures are being implemented, and when everyone enjoys taking part in the
successful implementation. Because there are neither clear guidelines as to how a green band shouldlook like nor a “must-do list”, the first thing to do should be finding out where common interests (fairmerchandise? vegan food? car-free future? etc.) lie and to step on the green path from there.
When communicating this topic, various approaches can be chosen:

Scientific approach:
Underlining environmental activities with evaluations, figures, and facts (see Radiohead)Hands-on approach:
Involving fans via green activities such as picnics, fan cookouts etc. (see We Invented Paris)Personal approach:
Develop a green charisma from within through a sustainable lifestyle (see Clueso)

Informative approach:Accepting climate protection as the norm, providing information regularly (see Jack Johnson)

Marketplace

12.2.1 Green consultantsJulie’s Bicyclewww.juliesbicycle.com

GOODevents

www.goodevents.info

Green Music Initiative

www.greenmusicinitiative.dekollektif

www.kollektif.deEnergieAgentur.NRW

www.energieagentur.nrw.de49

Green Touring Guide | Outlook

13 Outlook
With the Green Touring Guide, another step has been taken towards establishing climate-friendly
tours in Germany. Preliminary surveys have shown that there is great interest inclear instructions for action,

recommendations for implementing measures, and

inspiring case studies.

Despite this, green touring will not simply take off just because there is now a guide. Climate
protection has increased in prominence in the music industry over the past few years, both from apractical standpoint as well as where education is concerned, such as at the Popakademie BadenWürttemberg or the Bucks University (South England). Furthermore, there are also a few committed
people in the performer scene and the live music industry who are driving change and will definitely
implement some of the measures — or are already doing it as a matter of course: For example, whyshould performers accept bad food when on tour when they place great importance on high-quality,
ecological food in their private lives?
Despite this, the majority will probably remain skeptical initially as to whether a green touring concept
can feasibly be incorporated into the tour routine.
Hence, good pilot projects are the key to lifting green touring out of a niche and into the mainstream!
They need to show that both small productions as well as large-scale tours can be climate friendly
without requiring significant additional personal effort and financial costs. Hence, what is also
required is communication that is as broad as possible and which conveys that touring and living not
only functions pretty well even when less energy and resources are consumed — in fact, it can be evenbetter. Otherwise, it will be difficult for others (musicians and fans) to be inspired to do more toprotect the climate.
But why shouldn’t this be the case? On this note, we hope that New Order (1981) will finally be provenright and that the future of touring is as they described:
Everything’s gone green.

50

Green Touring Guide | Credits

14 Credits
Julian Hölscher, Handshake Booking

Sophie Mathes, Pennywine Entertainment

Moritz Rosin, Handshake Booking

Lea Preissler, Pennywine Entertainment

Lukas Föhres, Melt! Booking

Aline Herzog, Pennywine Entertainment

Julia Gudzent, Melt! Booking

Jan Zacharias, kollektif

Folkert Koopmans, FKP Scorpio

Fabian Jaxt

Inga Esseling, FKP Scorpio

Johann Gruen

Philipp Brinker, FKP Scorpio
Carlo Schenk, Landstreicher Booking
Ralf Diemert, Selective Artists
Dominik Schmidt, GHvC Booking
Danny Simons, GHvC Booking
René Ewertz, GHvC Booking
Stefan Honig, HONIG
Timo Kumpf, Karakter Live
Zora Brändle, Karakter LivePeter Putz, Karakter Worldwide
Andreas "Pese" Puscher, Selective Artists
Florian Brauch, Sparta Entertainment
Björn Bauch, Konzertbüro Schoneberg
Marit Posch, Monkeytown Music
Bastian Christ, Finiks Music
Christoph Kregl, Redroad
Alexander von Harsdorf, Mutemax
Jasper Niebuhr, FormdrangSarah Wolf, Zoo Entertainment
Sven Hasenjäger, 380grad
Anni Barsö, formerly of the Styleheads
Giulia Hauck, 380grad
Shija Cherian, The Agencee51

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