November.

That most notorious of months here in Norway. The world grows darker. Colder. Rain does not drizzle, it pours. It floods our pavements. We turn inwards.

But not on the scenes and stages of Oslo World. Here at Sentrum Scene. At Cosmopolite, Goldie, Jaeger, and all the other venues that host this most remarkable line-up of internationally acclaimed musicians. 

While the rest of this country retreats into itself, this festival explodes into life.

It explodes into rhythm.

Color.

Joy.

And, dare I even say, it explodes into love.   

This year’s program is bookended by prestigious names from the Argentinian music scene; the opening by the eclectic phenomena CA7RIEL and Paco Amoroso, while Argentinian legend Gustavo Santaolalla closes the festival in just a few minutes.

In between, audiences have had the opportunity to experience a truly unique and diverse collection of artists and concerts, from Balkan R&B and trap, via reggae-legends The Congo to Hakim, the Egyptian king of jeel.   

From the start in 1994, the festival has had the same aim: To bring the world to Oslo, and Oslo to the world. It has become one of the most prominent European festivals for music from Latin-America, Africa and Asia.

A true hotbed for world music.

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How do we define world music? Do we need to define world music? In my opinion, we don’t.

Great music – as with all great art – has a transcending quality. At its finest, it disregards borders.

Pays no mind to obstacles.

It travels through air and voices and heritage.

A song played on the charango from the Andes-region, finds kinship in a sarangi and a Norwegian hardanger-fiddle.   

Above all, it finds kinship in us. It has the power to move us. It has the power to call us into action. 

The audience at Oslo World know this.

This year, the festival has seen a record number of sold-out concerts. The nights have been packed with enthusiasm and diversity, whether you – dear audience – have come here as first-timers or veterans.

What makes this festival such a unique happening, are the people here.

This, clearly, also extends to those of you who volunteer here.

More than 200 of you, from more than 30 different countries, have contributed this week. Through hard work, engagement and a passion for both the music and the social commitment of this festival, you make it happen.

And so I would like you to extend a warm round of applause to the volunteers, many of whom can finally let their hair down tonight.

Oslo World is not only a music festival. Over the past couple of years, it has grown to become an important activist arena, that includes seminars, workshops, masterclasses and more.

The festival is the driving force behind the initiative Children’s Art Exploration day, a family festival where children and adults can experience cultural expressions and taste food from all over the world.

There is Oslo World Youth, where passionate young adults get to program both concerts, discussions and debates.

And then there is Our Neighborhood, where Oslo World turn asylum centers into neighborhood parties, packed with food, activities and music. The initiative builds down borders between communities and asylum centers, through art and understanding.

I am deeply impressed with what Oslo World achieves, not only as a celebration of music and art, but as a forum for social consciousness.

Oslo World has been a vital and vibrant presence in Oslo for the past thirty-two years, and while the success of the event is a collective effort, I would nonetheless like to praise someone whose tireless work has made a real difference.

This year Alexandra Archetti Stølen marks her twentieth anniversary as Festival Director of Oslo World. Your dedication and hard work have made Oslo a more vibrant place, and for that we thank you.

And now.

To close Oslo World 2025, we have something truly special in store.

You have heard his film scores, of which he has received two Academy Awards. You are no doubt familiar with his wonderful 1997-album Ronroco, perhaps even his earlier work and its influence on Latin-American rock, as seen in his Netflix-documentary Break it All.    

It is my pleasure to welcome a true icon of Latin-American music – Gustavo Santaolalla – to the stage.