No music tech on a dead planet: what to do?
This was one of the central themes of the Innovation and Transitions Meetings organized by the CNM: how can industry respond to the climate emergency on its own scale? We are faced with a reality that permeates the entire global economy. While the biggest names in music continue to fill stadiums and draw huge crowds (in a admittedly modest sample of Swifties who attended the pop star's concerts in Lyon in early June, 31.5% indicated that they had flown there), and while a world tour remains the dream of most artists, can we truly take concrete action for the planet?
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Virtuous examples in the music industry
Examples abound: Coldplay, through its Music of the Spheres tour, has positioned itself as a pioneer of eco-responsibility. It announced a 59% reduction in its carbon emissions compared to its previous tour. The potential for improvement was certainly enormous for a band of its stature, but other announcements demonstrate a commitment to continuing these efforts: the pressing of future vinyl records will be done using nine recycled bottles (for each record). While this may seem insignificant, the influence such an initiative from a global band could have should not be underestimated.
Another example is Massive Attack, who announced they would be doing their 2020 tour by train, a significant constraint and a radical stance. We could also draw inspiration from Japanese live houses, where backline is provided to the musicians, allowing them to travel light.
But these are challenges that still require solutions.
Several questions remain open to debate: how to reduce the carbon footprint without compromising the magic of the experience? How to resolve the tension between the need for innovation and the demand for sustainability? How to guard against greenwashing, which could, admittedly, be quickly brandished? One observation: these three issues ultimately affect all sectors of the economy.
Music tech must do its part
Rooted in economic and societal realities, the music industry must do its part: but let's not forget that 80% of the impact comes from the audience, not the production itself. This major challenge remains unresolved. The issue is therefore eminently societal and thus complex, and must take into account other dimensions to be effective: reducing the size of events, engaging mobility stakeholders and public authorities, citizen or industry initiatives, redefining success for artists… The industry will not solve the ecological crisis alone, but it has a moral obligation to strive for exemplary practices.