Ása Dýradóttir is a Reykjavík-based musician and cultural leader working at the intersection of live performance and music policy. As a bass player, she has been a central figure in Iceland’s independent music scene, performing with Mammút and collaborating across a wide network of artists including Rakel, Kaktus Einarsson, Benni Hemm Hemm, Salóme Katrín, and Nanna from Of Monsters and Men. Alongside her work as a musician, she serves as Director of Tónlistarborg (Music City | Reykjavík), where she works to strengthen the conditions for live music in Reykjavík by connecting artists, venues, policymakers, and industry stakeholders.

In this episode, Michael and Ása explore what it means to be a “bass player” in both music and civic systems. She reflects on Mammút’s return to the stage at Iceland Airwaves after several years apart, and how the band’s relationship has shifted from ambition to presence, reclaiming the simple act of playing together. She describes their early process of writing without demos or sheet music, relying instead on memory, intuition, and the physical experience of sound, and contrasts that with the more fragmented, individual workflows that came later. Across the conversation, she returns to the idea that true creative work emerges through shared time, friction, and trust.

They also discuss her role at Tónlistarborg, where she operates less as a front-facing leader and more as connective tissue by supporting venues, advocating for policy change, and working to sustain a fragile live music ecosystem. Ása speaks candidly about the erosion of venue infrastructure in Reykjavík, the pressures facing artists and promoters, and the importance of maintaining momentum in the face of structural challenges.

Finally, she shares a deeply personal account of using music as a form of connection while caring for her parents during illness, reflecting on the relationship between sound, memory, and the brain, and why music remains one of the most powerful ways we understand and reach one another.