Creativity as an economic force
In the opening speech, Elisabeth Mæland Fosse from the Norwegian Industrial Property Office (NIPO) reminded us that the creative industries globally account for a full 6% of the world economy, according to UNESCO – and that music is not only art, but also industry, jobs and exports. A recent report from Music Norway estimates that revenues in the industry could double by 2030.
The role of NIPO is to secure rights through trademarks, designs and patents, but also to supervise organizations that manage copyright – such as TONO and Gramo.
Rights as an investment
Magnus Thomassen, CEO of Zefyr (an investment fund for film and video games), gave a thorough and accessible introduction to copyright. He explained how such rights can be the very basis for investments – just like stocks or property.
Thomassen showed how economic rights in music can be sold and licensed, and that there is great value in ownership of music catalogs. He cited examples such as Michael Jackson's catalog (parts of which were sold for $600 million) and pointed out that the music, film and gaming industries combined are larger than the seafood industry globally.
But investing in music is not without its challenges: Unclear rights structures, old contracts and long time horizons for revenue make it demanding. He stressed the need for transparency and simulations – financial “waterfalls” – that can show how the money is actually distributed.
How Norwegian is Norwegian music really?
Senior lecturer and distinguished lecturer at Kristiania University College, Audun Molde, addressed a timely question: When Norwegian music does well internationally – how much of the value creation actually happens in Norway?
He showed how successful artists and producers often collaborate with foreign companies and platforms. Examples such as Kygo, Aurora and Einar Selvik were used to illustrate how both historical and modern successes have often had little to do with the Norwegian business structure.
Molde also pointed out how old songs – like Maria Arredondo's "Burning" – can suddenly go viral through games and social media, and that there is a strong reason to own the rights. He warned that Norway today often creates the values, but lets ownership and returns end up abroad.
Big in Japan
Vegar Waske spoke with Robin Jensen about making music a value-creating industry. Robin told about his journey from establishing small songwriting workshops in Trondheim to a breakthrough in Korea and Japan where songwriting has been systematized and has become big business.
Panel debate: What is needed to strengthen value creation in Norwegian music?
The panel discussion, led by Elisabeth Mæland Fosse, brought together three different perspectives:
- Kai Robøle from Arctic Rights Management called for more professional infrastructure and national investment in music rights.
- Margit Klingen Dams , former entrepreneur and now in Innovation Norway pointed out the need for closer links between culture and business.
- Erling Maartmann-Moe, investor, emphasized that Norwegian players must think internationally from day one – and be prepared for long-term investments.
The panel agreed that value creation in the music industry requires more capital, greater ambitions and better frameworks for developing Norwegian rights and talent over time. Conclusion: Norway has the talent – but lacks the structure.
Both the presentations and the panel showed that Norway has a strong musical heritage and many international successes. But we still lack the systems, expertise and capital that make it possible to keep more of the value creation here at home. If Norway is to succeed in making music an export industry on par with seafood and technology, we must strategically invest in rights, ownership and professionalization.
Watch footage from the event
