Since the mid 1990’s, Norwegian popular music has experienced a thorough transformation from a small and domestically oriented scene into a rich and diverse society of musicians and industry reps that have their sights set on the international stage. With a wide range of highly active bands, record labels, venues and festivals, more is going on in Norwegian popular music than ever before.

If one were to track the developments of Norwegian popular music, one should initially focus on the various urban scenes, i.e. the Bergen scene or Oslo’s underground. The growth of festivals, the many new independent (indie) record labels, a new generation of eager and talented music industry professionals as well as more supportive domestic media, are some factors that have contributed to the strengthening of Norwegian of pop, rock, metal, hip-hop, R&B and electronica.

For the last decade, the west-coast capital of Bergen has been a hotbed of musical activity, dubbed 'the Bergen Wave'. The compact and vibrant city centre sports a high number of live-venues, several renowned recording facilities, a slew of very active and acclaimed independent record labels and last but not least a wide range of bands, performers and artists that represent a myriad of genres ranging from hip-hop and electronica, indie and retro-rock, drum’n’bass and R&B to folk and black-metal. The Bergen scene’s ability to collaborate actively across the genre-spectrum is a key factor in explaining the city’s strong standing on the international scene. Key acts that have emerged from the Bergen scene include such central and internationally-acclaimed acts as Röyksopp, Sondre Lerche, Kings of Convenience (singer/guitarist Erik Glambek Bøe and guitarist Erlend Øye), Ralph Myerz and the Jack Herren Band and Magnet – bands and performers that have and are making a lasting imprint on the global stage.

Oslo represents a very active and vibrant live scene with a high number of well-equipped venues, each with a loyal crowd. The largest venue of its kind is Oslo Spektrum, which usually hosts the largest international stars. Key clubs such as Blå, Rockefeller (and sister venue John Dee) and Garage Oslo attract domestic as well as major international artists and have also played a key role in the growth of the city’s strong independent pop/rock/(black)metal scene. Turbonegro, Madrugada and Amulet are just a few of many bands that kick-started their careers on the sweaty stages of the capital’s clubs. Oslo is also the home town of several of Norway’s central independent record labels that have played a pivotal role in the growth of Norwegian popular music, providing creative outlets for the cast of bands and performers active in the capital’s many recording studios.

Recording and production facilities are another field in which the Norwegian scene has a strong standing. Studios such as Athletic in Halden along with production teams StarGate Studios in Trondheim and Waterfall in Oslo have had major impact on the development of many acts’ expression and signature sound. Norwegian popular music’s strengthened confidence and consolidated international standing is inextricably linked to the development of skilled and highly-qualified domestic recording and production facilities.

While the major labels are facing extensive layoffs, the situation for many of Norway’s independent labels is different. Small, agile and with a solid integrity and identity, many of the indies have managed to carve out a niche of their own, earning a loyal following at home and abroad. Ten years ago, Smalltown Supersound, Rune Grammofon, Racing Junior and Beatservice were microscopic, amateur operations – now these labels are key suppliers of high quality Norwegian popular music that’s identified by a strong will to create integral forms of expression. Tellé Records, run by Mikal Tellé, has been crucial in the development of the Bergen Scene, recording many of the artists at an early stage, including Kings of Convenience, Röyksopp, and Ralph Myerz and the Jack Herren Band.

A string of key festivals and industry events have also helped to boost the development of pop, rock, metal, hip-hop, R&B and electronica. Many of the festivals, in particular the central Quart Festival and the Øya Festival, have followed the growth experienced by bands and now attract tens of thousands of spectators and sport a varied roster featuring a wide range of bands and artists. Norwegian popular music’s key trade event is the annual by:Larm conference/showcase festival which is held on a rotating basis in the country’s biggest cities, representing an opportunity for unsigned bands to be heard and a networking/meeting spot for the established music community. In recent years the associated Alarm Awards is also gaining in reputation.

However, the most fundamental change on the Norwegian scene has happened in the minds of the public and the industry. It’s now cool to be Norwegian again - domestic bands are not seen as inferior to their foreign peers. These days the public buys more domestic releases and festival attendance is at its highest ever, which makes for exciting times for Norwegian popular music. Even a-ha are back in the studio recording a 'comeback' album (due for release in 2005). The excellent Music Information Centre website provides a comprehensive overview of this sector. See also Music Export Norway.