Facsimile of Finansavisen and VG
Finansavisen and VG have covered TONO in the last couple of days. The cases concern allegations of concentration of power and questionable distribution of funds. We have seen several allegations and representations in the cases that are not true, and it is important for us to correct factual errors and nuance the impression that is created.
/ 16/06/2026 / Willy MartinsenTONO values criticism and debate, but it must be based on facts.
First, we take the accusation that TONO is "a corrupt system" very seriously, and we of course refute it. TONO's statutes state that all genres should be treated equally.
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Nevertheless, this debate is important. The board has proposed several modernization measures on its own initiative in recent years. Not all proposals have received a majority at the annual meetings. Some changes have been made, other changes require a somewhat longer process. This is member democracy in practice.
Members' disagreements about how funds should be distributed are a perfectly legitimate debate. Furthermore, it is the annual meeting that decides how TONO should be governed, and each member can propose changes to the regulations before each annual meeting.
Furthermore, a picture is drawn of an organization that is losing members and income. There are many reasons why authors join or leave management organizations. We have to live with that. But as a general description, it does not fit well. TONO's payments in 2025 were the second highest in our history, surpassed only by the record year 2024. The decrease between the two years is primarily due to the new settlement model, which sends more to authors from all over the world, and that some payments planned for 2025 were postponed to 2026.
It is also not true that the revenue growth is solely due to international successes: TONO manages an entire world repertoire, both the music of our members and the music of the biggest foreign stars, and which overall constitutes an attractive repertoire for radio and TV companies, film and music streaming services, cinemas, concert organizers and shops and cafes all over Norway.
Finansavisen has published a list under the heading "These have left TONO". It is not correct. It mixes together people who have moved their entire business abroad, people who still have parts of their repertoire with TONO, and people who have never been members. Many of those mentioned have split memberships, which means that they are full TONO members for Norway and other countries and territories, but are also linked to a sister society abroad for other territories. It is a common international arrangement that TONO itself recommends in some cases.
In other words, there are current TONO members on the lists of those who Finansavisen claims have left TONO – and which VG reproduces. In Finansavisen's list, there are 15 current TONO members. In VG's somewhat smaller list, there are 8 TONO members. We have pointed out to both media outlets that there are TONO members among the names they have published. We are now in contact with them and have them correct it.
TONO has the vast majority of Norway's songwriters and composers as members, with all or part of their repertoire. This does not mean that any withdrawal is not taken seriously.
Settlement and cultural funds are two different things. These are mixed up in the case. TONO settles precisely those who have actually had their music played, regardless of genre. The cultural funds are something else: According to the statutes, they are to benefit all TONO members. One third of the cultural funds go to scholarships that are open to everyone – from young talents and lyricists to pop songwriters and contemporary composers. Two thirds are used for national music cultural purposes, which in turn are to benefit all creators, including through political lobbying for framework conditions for everyone who creates music. Furthermore, the cultural funds only come from income from the Norwegian market, not from foreign or streaming income.
The board is interested in looking at how the cultural resources can have an even greater impact and meet the needs of all member groups well. This was the reason why they proposed a new model for the annual meeting. It is also important that the members are interested in this, and therefore debate is both healthy and right.
It is claimed that it is profitable to move the licensing to Sweden. We do not recognize ourselves in this claim. TONO uses the same licensing entity for music streaming services as, for example, the Swedish STIM – ICE Licensing, and thus has the same agreements. Furthermore, the costs of the various companies follow the countries in which they operate. TONO members' income from Sweden comes to TONO after the Swedes have deducted their share. Similarly, STIM members will also receive income from Norway after we have made our deductions. It is also important to be aware that also in STIM, in Danish KODA etc. there are board members who belong to interest associations, such as in TONO.
TONO's board consists of 11 members who are elected to promote TONO's interests, not the interests of the associations. The composition is approved by the annual meeting, in accordance with the Cooperatives Act, as Tono is organized as a cooperative. It has happened, and will probably happen again, that two board members who are members of the same group association vote differently on board matters.
The members at the annual meeting decide on the composition of the board. Any member with voting rights can propose matters to the annual meeting, and it is the annual meeting that decides.
The fact that we correct factual errors does not mean that we take criticism or statements lightly. On the contrary. Every author who chooses to leave TONO is a loss we take seriously. Our goal is for TONO to be the preferred company for all Norwegian songwriters, composers and music publishers – and to earn their trust. Then the debate about us must also be honest and objective.
If you have any questions, you are always welcome to contact us.
Best regards
Willy Martinsen
Communications Director
The text was updated on June 16 at 3:10 p.m. Subheadings were added.