habbi.co
thank you for visiting the home for my work
in my life and in my work,
I’ve always been surrounded by talent.
what almost all of them have in common is being shockingly bad at explaining who they are, what they’re doing, and why anyone should care.
For 15+ years, I’ve worked across music, media and technology from Reykjavík to London to Nashville – turning complex ideas into clear stories, systems and work that can travel.
browse the latest
a running archive of things I’ve made, written, built and worked on — from campaigns and essays to talks, products and even the villain origin story of how and where it all started.
Social media isn’t really social anymore. The public feed has become entertainment, and I for one see that as a sigh of relief.
I was asked to talk about “a day in my life as an AI user”, and it turns out I use it mostly as thinking infrastructure, meaning a place to work through ideas, solve problems, write, plan, strategise and keep four interconnected businesses moving.
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.
An artist bio isn't a biography of everything you've ever done. Using Björk as an example, here's how I think about positioning an artist, establishing credibility and directing attention towards what matters now.
The 2024 GRAMMYs confirmed it: we're living in an era where excellence in music is defined by artistry, execution, and intention.
The taste of a professional fan-girl — 100 of the best songs of 2024, deliberately sequenced and designed for a full listen from track 1 through track 100.
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.
I worked with Icelandic golf-tech company ELVA Golf on the launch of its first training facility in Iceland, organising its launch event at GKG and securing national coverage on Stöð 2.
I was getting around 100 messages a day across email and social platforms. Instead of trying to work harder, I invested in building a system to contain them, and finally committed to Inbox Zero.
I was invited to speak to the Music Business class at Tónlistarskóli FÍH about my work at ÚTÓN / Iceland Music and the business behind building careers in music.
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.
StrengthsFinder articulated parts of me I’d recognised for a while but never had language for: strategic thinking on one side, and the relentless drive to put things in motion on the other.
I’ve always resisted goals: they either feel arbitrary or make promises about things we can’t control. Yearly themes gave me another way, turning abstract intentions into something I can actually act on.
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.
Sending an email intro isn't technically complicated. What's tricky is navigating the social dynamics.
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.
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 it “an essential tool” for promoters, agents and managers responsible for ticket sales.
Taylor’s entire catalogue — with the definitive version of each song. Perfect for a first listen, or a forever re-listen.
After years of actively avoiding The 1975, a behind-the-scenes look at their O2 production changed my mind.
Your Reykjavík soundtrack — a city-chic, cozy introduction to Icelandic music, from our world-famous icons to locally beloved favourites.