Rising temperatures across France since the mid-1970s is putting Tour de France competitors at “high risk”, according to new research.
The study, published in Scientific Reports, uses 50 years of climate data to calculate the potential heat stress that athletes have been exposed to across a dozen different locations during the world-famous cycling race.
The researchers find that both the severity and frequency of high-heat-stress events have increased across France over recent decades.
But, despite record-setting heatwaves in France, the heat-stress threshold for safe competition has rarely been breached in any particular city on the day the Tour passed through.
(This threshold was set out by cycling’s international governing body in 2024.)
However, the researchers add it is “only a question of time” until this occurs as average temperatures in France continue to rise.
The lead author of the study tells Carbon Brief that, while the race organisers have been fortunate to avoid major heat stress on race days so far, it will be “harder and harder to be lucky” as extreme heat becomes more common.
‘Iconic’
The Tour de France is one of the world’s most storied cycling races and the oldest of Europe’s three major multi-week cycling competitions, or Grand Tours.
Riders cover around 3,500 kilometres (km) of distance and gain up to nearly 55km of altitude over 21 stages, with only two or three rest days throughout the gruelling race.
The researchers selected the Tour de France because it is the “iconic bike race. It is the bike race of bike races,” says Dr Ivana Cvijanovic, a climate scientist at the French National Research Institute for Sustainable Development, who led the new work.
Heat has become a growing problem for the competition in recent years.
In 2022, Alexis Vuillermoz, a French competitor, collapsed at the finish line of the Tour’s ninth stage, leaving in an ambulance and subsequently pulling out of the race entirely.
Two years later, British cyclist Sir Mark Cavendish vomited on his bike during the first stage of the race after struggling with the 36C heat.
The Tour also makes a good case study because it is almost entirely held during the month of July and, while the route itself changes, there are many cities and stages that are repeated from year to year, Cvijanovic adds.
‘Have to be lucky’
The study focuses on the 50-year span between 1974 and 2023.
The researchers select six locations across the country that have commonly hosted the Tour, from the mountain pass of Col du Tourmalet, in the French Pyrenees, to the city of Paris – where the race finishes, along the Champs-Élysées.
These sites represent a broad range of climatic zones: Alpe d’ Huez, Bourdeaux, Col du Tourmalet, Nîmes, Paris and Toulouse.
For each location, they use meteorological reanalysis data from ERA5 and radiant temperature data from ERA5-HEAT to calculate the “wet-bulb globe temperature” (WBGT) for multiple times of day across the month of July each year.
WBGT is a heat-stress index that takes into account temperature, humidity, wind speed and direct sunlight.
Although there is “no exact scientific consensus” on the best heat-stress index to use, WBGT is “one of the rare indicators that has been originally developed based on the actual human response to heat”, Cvijanovic explains.
It is also the one that the International Cycling Union (UCI) – the world governing body for sport cycling – uses to assess risk. A WBGT of 28C or higher is classified as “high risk” by the group.
WBGT is the “gold standard” for assessing heat stress, says Dr Jessica Murfree, director of the ACCESS Research Laboratory and assistant professor at the University of North Carolina at Chapel Hill.
Murfree, who was not involved in the new study, adds that the researchers are “doing the right things by conducting their science in alignment with the business practices that are already happening”.
The researchers find that across the 50-year time period, WBGT has been increasing across the entire country – albeit, at different rates. In the north-west of the country, WBGT has increased at an average rate of 0.1C per decade, while in the southern and eastern parts of the country, it has increased by more than 0.5C per decade.
The maps below show the maximum July WBGT for each decade of the analysis (rows) and for hourly increments of the late afternoon (columns). Lower temperatures are shown in lighter greens and yellows, while higher temperatures are shown in darker reds and purples.
Six Tour de France locations analysed in the study are shown as triangles on the maps (clockwise from top): Paris, Alpe d’ Huez, Nîmes, Toulouse, Col du Tourmalet and Bordeaux.
The maps show that the maximum WBGT temperature in the afternoon has surpassed 28C over almost the entire country in the last decade. The notable exceptions to this are the mountainous regions of the Alps and the Pyrenees.
The researchers also find that most of the country has crossed the 28C WBGT threshold – which they describe as “dangerous heat levels” – on at least one July day over the past decade. However, by looking at the WBGT on the day the Tour passed through any of these six locations, they find that the threshold has rarely been breached during the race itself.
For example, the research notes that, since 1974, Paris has seen a WBGT of 28C five times at 3pm in July – but that these events have “so far” not coincided with the cycling race.
The study states that it is “fortunate” that the Tour has so far avoided the worst of the heat-stress.
Cvijanovic says the organisers and competitors have been “lucky” to date. She adds:
“It has worked really well for them so far. But as the frequency of these [extreme heat] events is increasing, it will be harder and harder to be lucky.”
Dr Madeleine Orr, an assistant professor of sport ecology at the University of Toronto who was not involved in the study, tells Carbon Brief that the paper was “really well done”, noting that its “methods are good [and its] approach was sound”. She adds:
“[The Tour has] had athletes complain about [the heat]. They’ve had athletes collapse – and still those aren’t the worst conditions. I think that that says a lot about what we consider safe. They’ve still been lucky to not see what unsafe looks like, despite [the heat] having already had impacts.”
Heat safety protocols
In 2024, the UCI set out its first-ever high temperature protocol – a set of guidelines for race organisers to assess athletes’ risk of heat stress.
The assessment places the potential risk into one of five categories based on the WBGT, ranging from very low to high risk.
The protocol then sets out suggested actions to take in the event of extreme heat, ranging from having athletes complete their warm-ups using ice vests and cold towels to increasing the number of support vehicles providing water and ice.
If the WBGT climbs above the 28C mark, the protocol suggests that organisers modify the start time of the stage, adapt the course to remove particularly hazardous sections – or even cancel the race entirely.
However, Orr notes that many other parts of the race, such as spectator comfort and equipment functioning, may have lower temperatures thresholds that are not accounted for in the protocol, but should also be considered.
Murfree points out that the study’s findings – and the heat protocol itself – are “really focused on adaptation, rather than mitigation”. While this is “to be expected”, she tells Carbon Brief:
“Moving to earlier start times or adjusting the route specifically to avoid these locations that score higher in heat stress doesn’t stop the heat stress. These aren’t climate preventative measures. That, I think, would be a much more difficult conversation to have in the research because of the Tour de France’s intimate relationship with fossil-fuel companies.”
The post Dangerous heat for Tour de France riders only a ‘question of time’ appeared first on Carbon Brief.
Dangerous heat for Tour de France riders only a ‘question of time’
Climate Change
Commencement of NSW Forestry assessment a ‘chance to fix a broken system’ and deliver urgent forest protection
SYDNEY, Friday 18 September 2026 — In response to the Federal and NSW government’s announcement to commence an assessment of NSW forestry under the new national nature laws, Adele Chasson, Nature Policy Lead at Greenpeace Australia Pacific said:
“This is the Federal Government’s chance to fix a broken system that has enabled the destruction of NSW’s precious forests for far too long.
“Native forest logging continues to smash threatened species habitat. In NSW, it is pushing unique wildlife like koalas, greater gliders and glossy black cockatoos towards extinction. The state-owned logging agency has a disastrous record of environmental damage and breaches.
“The Regional Forest Agreement (RFA) system has failed, allowing the industrial logging of special forests for decades across Australia with no oversight. Thankfully, the Federal Government has started the process to finally remove the logging industry’s exemption from national nature laws.
“It’s time for the Federal Government to deliver the protection that forests urgently need, and that Australians overwhelmingly want. The Government must ensure a thorough assessment of the devastating impacts of native forest logging in NSW, and establish strong environmental rules that states must follow.
“These forests have been cared for by First Nations people for tens of thousands of years. They are some of the most biodiverse on the planet, store carbon, clean our air and water. It’s critical we protect them.”
ENDS
Media contact:
Kate O’Callaghan on 0406 231 892 or kate.ocallaghan@greenpeace.org
Climate Change
Furry Little Peach x Greenpeace
What happens when a love of marine life meets a playful imagination?
Sydney artist, illustrator and children’s author Sha’an d’Anthes, better known as Furry Little Peach, has teamed up with Greenpeace to create Happy Ocean Happy Planet: a joyful celebration of the extraordinary creatures that call our oceans home.
Sha’an felt inspired to create an illustration celebrating the beauty and resilience of marine life. Its hopeful message, A Happy Ocean is a Happy Planet, sparked a special collaboration with Greenpeace and a limited-edition t-shirt designed to help protect the oceans that inspired it.
The exclusive Furry Little Peach tee is available as a gift to new regular Greenpeace donors who give $30 or more and make at least three donations. By becoming a regular giver, you’ll help Greenpeace campaign for ocean protection.

ARTIST INTERVIEW: Sha’an d’Anthes (Furry Little Peach)
Sha’an shares the story behind the artwork, the local marine creatures featured in the design and why hope can be such a powerful force for action.
Hi Sha’an! Can you tell us a little about yourself and what you do?
My name is Sha’an d’Anthes, I also go by the pseudonym Furry Little Peach and I’m an illustrator, artist and children’s author based in Sydney, Australia. I love creating joyful, vibrant and nostalgic art that looks at the world through the lens of childlike wonder.

What do you love about drawing animals and nature?
I love all of the different shapes, colour and narrative you get to explore when drawing animals and nature. I’m also a city-slicker these days, and so I think that my work is a sort of escapism (for myself and hopefully for my audience).
How did the Greenpeace collaboration come about?
I went to the premiere of David Attenborough’s documentary Ocean, and felt compelled to create something to share the message of the film. This t-shirt is actually based off of that illustration including the tagline in I included when I shared it “A Happy Ocean is a Happy Planet”. I’m so grateful Greenpeace approached me for the project – it was a blast.
Where did you start when creating the Happy Ocean Happy Planet design?
The Happy Ocean tee starts the same as all of my work – with a brainstorm/braindump and really loose concept sketches.
How did you choose the animals for the illustration?
I actually asked Greenpeace to help me with the research of local marine life and they were so accommodating. They very quickly delivered me a huge list of local species of fish, mammals and coral and I just went through and looked up each creature and curated a little group of sea life that I thought would look sweet together – a mix of sizes, types, colours, textures and shapes.
What did you use to create the artwork?
So much of my work is traditional, but when it comes to things like t-shirts I always use digital drawing programs because I like to draw each colour in a separate layer which requires me to jump in and out of layers because it allows me to control colour and printing. When working digitally I always sketch in Procreate (an Australian digital art app), and then with this project I created final art in Adobe Fresco because it called for a vector graphic (an image that can be blown up to any size).
Do you have a favourite creature in the design?
I love painting Humpback Whales and always have, but I also have a soft spot for the sweet little Jelly Blubber jellyfish.
What did you want people to feel when they saw the artwork?
I specifically wanted to focus on the outcome that all of us want to see – a happy, thriving ocean where creatures are given the time and space to balance themselves. I feel that even when tackling tough subjects, leaning into hope is my natural inclination. As long as we have hope that things can be better, we will continue to take action.
What was the most fun part of creating it?
I actually documented the entire process of this project in a studio vlog on YouTube – and you can see how much fun I’m having doing final art jumping between layers and building the image. I had just come off completing final art for two books which are multi-year long projects, so being able to do a project that from start to finish in just a few days was really freeing at the time.
What does a “happy ocean” mean to you?
An ocean that given the time and space to repair and balance itself. Something I really took away from David Attenborough’s Ocean is that ocean ecosystems are actually really good at repairing themselves if we just let them do their thing.
How can people get their hands on the t-shirt?
The shirt is a reward for regular givers to Greenpeace – those who commit to at least 3 months of donations will receive the tee as a gift. Read about how at http://act.gp/flp-tee
How is Greenpeace helping to make our oceans happier places?
They have a deep focus on the health and happiness of our oceans through advocating for the set up of marine sanctuaries, holding big ocean polluters to account and calling for a ban on deep sea mining.
What are you working on next?
I will be jumping headfirst into Peachtober – an annual daily art challenge I run each year in October, if there are any artists reading this it’s a great time so please come join! In terms of publications my next picture book The Late Bird will be out in February 2027 (published by Harper Collins US) and then I have an creative activity book for adults coming out next August with Chronicle US and Penguin Australia. Otherwise you can always check out what I’m tinkering away with in my studio on Instagram and YouTube.

Climate Change
AI giant Anthropic’s first Australian data centre deal an “egregious” example of Big Tech double talk
SYDNEY, Thursday 17 September 2026 — Greenpeace Australia Pacific has slammed AI giant Anthropic’s deal for its first Australian site in Queensland’s Western Downs, the heart of coal seam gas country, saying the project will entrench gas and turbocharge climate pollution.
The expected electricity demand from the data centre site, situated in the middle of the Western Downs coal seam gas fields, is comparable to 1.5 million Australian households. Greenpeace’s report Energy Vampires: The AI data centres draining Australia called for a moratorium on frenzied data centre development until appropriate guardrails are in place.
Joe Rafalowicz, Head of Climate and Energy at Greenpeace Australia Pacific, said: “This is an egregious example of Big Tech giants being given carte blanche to drain energy and water, and use polluting gas to fuel their hyperscale data centres.
“AI and Big Tech corporations claim to bring new renewable energy to the grid, while blatantly planning to power their operations with polluting fossil fuels.
“Planning documents show the first stage of this behemoth project could be powered by ‘behind the metre’ gas — the same playbook AI companies have used in the US, leading to a 20% increase in climate pollution from electricity. Now these companies want to bring their cowboy plans to Australia and the Federal Government is allowing it.
“If they plugged into the local grid, the power required would increase Queensland’s electricity grid emissions by around 6.6 million tonnes — an 18% rise. If they build their own gas-fired power plants, this will drive up Queensland’s emissions even more.
“Billions of dollars are now pouring into a massive pipeline of proposed new data centres, of unprecedented size, being built at incredible speed across the country. Australians should be worried about the extreme lack of scrutiny being applied to these projects, and the corporations leading the data centre charge.
“The data centre build-out is happening without the endorsement of the Australian people, yet we are the ones who will pay the price. We can not allow unchecked data centre expansion to derail our renewable energy transition, entrench gas and turbocharge climate pollution — that’s why Greenpeace has called for an urgent moratorium until appropriate guardrails are in place.”
ENDS
Media contact: Kate O’Callaghan on 0406 231 892 or kate.ocallaghan@greenpeace.org
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