Green Touring and Concert Travel Are the Future: Guest Post by Guster Guitarist and Reverb Co-Founder Adam Gardner

Adam Gardner, guitarist for the enduring rock group Guster and co-founder of the sustainability nonprofit Reverb, is writing this from his tour bus in the middle of a national run. Each night, he steps onstage in front of a packed room and quietly wonders: How did everyone get here? Did they drive, fly, bike, or share rides? That question has grown more urgent as high-profile events—from Bonnaroo to tours by Willie Nelson and Steve Miller—have been canceled this year due to extreme weather. There’s a difficult irony at play: the gatherings that bring us meaning and joy are both threatened by and contributing to the climate crisis.

For two decades, Reverb—a 501(c)(3) organization dedicated to greening the music industry—has worked to reduce the environmental footprint of live events. Through programs focused on reusable cups, waste reduction, fan engagement, and cleaner energy, progress is being made. Yet one of the most persistent challenges has been audience travel: the largely invisible carbon emissions generated by thousands of people commuting to a single show. Now, for the first time, Reverb’s Concert Travel Study has gathered hard data from 400 shows across 170 North American cities, offering real insight into fan behavior, obstacles, and desires for more sustainable options. The results are striking—a clear signal that audiences are ready for change.

Several forward-thinking events are already leading the way with what Gardner calls the “Three I’s”—initiatives that are intentional, integrated, and incentivized. Free or bundled public transit passes, like those offered at Dead & Company’s Golden Gate Park shows or the Hollywood Bowl, make it simple to leave the car at home. Dedicated shuttle services are also gaining traction: Billie Eilish tested free fan buses on her 2024 tour, and the Xfinity Center in Massachusetts partners with Rally Bus to offer group rides from across New England. Some venues, like San Francisco’s Chase Center—which is served by bike valets, ferries, and light rail—build transit right into the ticket. Others use creative disincentives: Coachella rewards cars with four or more people with VIP upgrades, while New York’s Forest Hills Stadium offers no on-site parking, nudging attendees toward public or active transport.

Beyond cutting emissions, these measures dramatically improve the fan experience. No one enjoys sitting in traffic, scrambling for parking, or leaving early to beat the crowd. Imagine instead a dedicated concert shuttle where the artist’s music is already playing, new friends are made on the ride, and you arrive relaxed and ready for the show. Reverb has seen this firsthand—fans who met through carpool programs have kept in touch, and in one case, even married. When travel becomes part of the event, the entire night is elevated.

Progress isn’t limited to fan travel. This summer, Reverb made history at Lollapalooza by powering the main stage—the festival’s central hub—with a hybrid battery system that delivered over 1.5 megawatt-hours of storage and significantly reduced emissions. Later this month, the entire Healing Appalachia festival, held in the heart of coal country, will run on renewable energy, cutting fuel use by more than 80%. These efforts are part of Reverb’s Music Decarbonization Project, which is reimagining every aspect of live performance—from energy and merch to transportation. As Gardner notes, “We have the data, we have working models, and we know fans want to be part of the solution. Now it’s time for the industry to act.” Venues can partner with transit agencies, artists can use their influence, and fans can demand greener options. Though the climate crisis is daunting, music has always guided us through struggle—and it can help us face this challenge, together.