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.

The 2024 GRAMMYs confirmed it: we're living in an era where excellence in music is defined by artistry, execution, and intention.

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.