I use AI everywhere, always, for everything. Mostly as “thinking infrastructure” — a place to work through ideas, solve problems, write, plan, strategise and keep four interconnected businesses moving.

January 22, 2026 – 10-minute presentation: “Day in the life of an AI-user” at Hjálmar Gíslason’s Reykjavík AI-industry meet-up.

As the value of doing the work plummets, the most valuable skill in the economy becomes clarity of thought.

My notes on Tyler Cowen’s 2013 Average Is Over and how his prediction reads like our present.

I was invited to give Á bakvið tjöldin, a guest lecture for students on the new Tónlist, nýsköpun, tækni programme at the Iceland University of the Arts, about the role of artist management and the business infrastructure behind an international music career.

I wrote for Vísbending about a missing piece in Iceland’s music economy: we invest heavily in creating world-class artists, but much of the economic infrastructure surrounding their international success is built, and importantly owned, elsewhere.

The 2024 GRAMMYs confirmed it: we're living in an era where excellence in music is defined by artistry, execution, and intention. This deep-dive celebrates the year’s best with sharp analysis, bold observations, and a curated playlist of 100 standout tracks.

Elín Hall’s Iceland Airwaves 2024 showcase introduced her new English-language material to international press and industry, with coverage across PAPER, American Songwriter, Paste, The Line of Best Fit and more.

Launch communications for Icelandic golf-tech company ELVA Golf, including the opening of its first training facility and national coverage on Stöð 2.

As part of my work at Iceland Music, I co-programmed the industry conference at Iceland Airwaves, bringing international music professionals to Reykjavík for a programme of panels, talks and industry events.

At Iceland Airwaves 2022, I moderated a fireside chat with Laufey and her manager, Max Gredinger, about the artistic vision and strategy behind her rapidly growing international career.

Ahead of Iceland Airwaves 2022, I spoke to Fréttablaðið about the festival, its international industry programme, and our work bringing music professionals and press to Reykjavík.

At Iceland Music, I turned a manually maintained database of Icelandic artists’ international concerts into an automated discovery platform — using technology from my former colleagues at Mobilitus.

While presenting Record in Iceland at Westway LAB in Portugal, I spoke to Observador about Iceland’s approach to music as an industry and the role of government investment in supporting its growth.

As part of my work at Iceland Music, I supported Ösp Eldjárn’s participation in Global Music Match, securing coverage in RÚV, Morgunblaðið and Vísir.

The project went on to win the WOMEX Professional Excellence Award in 2021.

Before the re-recordings and the record-breaking tour took center stage, I explored Taylor Swift’s true superpower: her ability to turn emotional intelligence into a smart, impactful business strategy. This piece dives into how she uses empathy and connection not just in her music, but to build a lasting empire.

Now that technical barriers have been wiped away, the real question isn’t how to do something, but what we create. Whether it’s building a website, launching a podcast, or breaking into music, there really are no shortcuts and no hacks — only the work remains.

I was brought in to manage communications around Avo’s $3M seed round, running the Icelandic press launch and coordinating with the investor team on the international announcement.

As Product Manager at Promogogo, I spoke with Music Ally about building technology for live music — from real-time ticketing data and artist segmentation to managing complex international tours.

Music Ally featured Promogogo in its 2020 Sandbox Live Music Roundup, calling the platform “an essential tool” for promoters, agents and managers responsible for ticket sales.

As Product Manager at Promogogo, I worked on technology that used concert location and timing data to surface fan photos from Arcade Fire shows — turning the audience itself into part of the artist's digital experience.

At 17, I was asked to market a school theatre production. We printed 5,000+ posters, got the press, sold out six shows — and accidentally started my career.