The short version
- The Forwards festival in Bristol is utilizing a mix of hydrogen power and renewable-charged batteries to operate its stages, avoiding traditional diesel generators.
- This initiative represents the first large-scale public-private partnership in the region dedicated to providing green mobile power for events and film productions.
- Organizers view the project as a template for systemic change in the creative industries, with plans to expand the model to other mayoral authorities across England.
A major cultural event in Bristol is operating on a clean energy infrastructure that organizers describe as unprecedented in its scale and public backing. The Forwards festival, featuring performances by artists such as Lorde, Little Simz, and Wet Leg, is running its main stage using a compact hydrogen power plant. This setup marks a significant departure from the industry standard of relying on diesel generators, which are typically noisy and emit substantial carbon pollution. The initiative is part of a broader pilot scheme designed to provide secure, green mobile power for festivals, television crews, and other large-scale events.
The project addresses specific logistical challenges inherent to the festival site at Clifton Down. Due to the geography and geology of the location, connecting to the National Grid for green energy is not feasible. Furthermore, the economics of temporary event production often make it impractical for organizers to invest in their own sustainable energy supplies. To overcome these barriers, the Clean Power Pilot scheme has secured regional public funding. This financial support helps de-risk the transition away from fossil fuels, allowing for the deployment of technology that might otherwise be too costly for individual event producers to adopt independently.
The main stage is powered by a hydrogen plant established by GeoPura. The process generates electricity with pure water as its only byproduct. In a symbolic gesture, performers are invited to sample this water after their sets. A second stage and various other areas of the festival grounds rely on mobile battery units. These batteries are charged using electricity from renewable suppliers. To ensure reliability, the system includes backup generators fueled by hydrotreated vegetable oil, which is considered a lower-carbon alternative to traditional diesel but still involves combustion.
This effort evolved from earlier experiments in sustainable event production. The trip-hop collective Massive Attack previously hosted a homecoming gig in Bristol that was credited with achieving record-low carbon emissions for such an occasion. That event involved collaboration between artists, technicians, and scientists through a creative industry project known as Act 1.5. Building on that success, the current pilot has expanded to include approximately a dozen other events this summer, including the Bristol Balloon Fiesta. Television productions filmed in the area, such as the drama Mavis Eccleston, have also utilized the clean power infrastructure.
Political and institutional support has been crucial to the project's development. The West of England mayoral combined authority provided financial backing, while the Greens-led Bristol city council offered its endorsement. Clean energy providers and Bottle Yard, the region’s largest television studio, have also participated in the initiative. Mark Donne, a lead producer for Act 1.5, emphasized that there is no comparable program globally in terms of the sectors involved and the scale of procurement. He noted that the collaborative approach between public bodies and creative industries sets a new precedent for how large events can manage their environmental impact.
The practical benefits of the system extend beyond carbon reduction. John O’Sullivan, a senior figure in Act 1.5, highlighted the noticeable difference in ambient noise levels at events using this technology. Traditional diesel generators are often loud and intrusive, detracting from the audience experience. With the clean power setup, the primary observation is the absence of that mechanical roar. This improvement in quality of life for attendees and performers underscores the dual benefit of environmental stewardship and enhanced event comfort.
Proponents of the scheme view it as a catalyst for broader systemic change within the creative industries. Robert Del Naja of Massive Attack stated that the original 2024 show was never intended to be a one-off experiment but rather a step toward permanent decarbonization. He argued that waiting for national governments or corporate entities to act has led to wasted time, especially as climate impacts such as wildfires and droughts become more severe. The project aims to demonstrate that civil society and local authorities can implement effective solutions without relying on higher levels of government to lead the charge.
Looking ahead, Act 1.5 is working with other mayoral authorities across England to replicate this model. There has also been international interest in the approach, suggesting potential for wider adoption beyond the UK. Jonathan Pryce, an actor involved in one of the productions using the power scheme, noted that art and music provide spaces to imagine better futures while confronting difficult realities. As severe weather events predicted by climate scientists become more vivid, initiatives like this offer a tangible example of how cultural sectors can adapt and lead in sustainability efforts.
Sources behind this briefing
Go to the original reporting
- The Guardian World↗‘No precedent’: Lorde and Little Simz to star at world-first festival run on clean power
