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.

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.

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.

I moderated a panel at Nordic Folk Alliance in Roskilde exploring how music finds its way into film, television, advertising and video games — and the opportunities sync creates for artists.

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

I was invited to speak at Secret Sessions’ Artist Meet Up at The Hospital Club in London about building an audience as an independent musician, and why artists need to build their online infrastructure before they have something to sell.

Who but Taylor Swift would promote a blockbuster pop album with an op-ed in Wall Street Journal, the person who seems completely unaffected by the music crises. She has sold more albums than Britney Spears, Eminem and Prince; all of whom had the advantage of selling records while people were still buying records.

While some content “goes viral” randomly, it is unlikely to leave a lasting impact unless it has an established online presence it can continue to build on.