A conversation with Damien Fischetti

Published on January 30th, 2015

Damien Fischetti is the digital strategist for Polydor France. He’s had the fortune to work in digital across diverse industries, giving him a unique perspective on the intersection of music and technology. Here are his thoughts on where music marketing is headed and his desire to connect users and great content through technology.

Tell us a bit about your background. How did that lead you to where you are today?

After studying marketing and management, I wanted to start a career in the creative department of a record label. I felt I needed to understand the creative process of musicians. When your core goal is to develop and promote talent, you need to have a comprehensive overview of an artist’s project.

For five years I worked as a Production Manager at Polydor in charge of various artists like Feist, Micky Green and Mylène Farmer. Then I got the opportunity to develop the digital activities at Barclay Records. This career change enabled me to work with creativity, marketing and technology, thanks to a close collaboration with very innovative artists (M, Cœur de pirate, Mika).

But I felt like something was missing: I definitely had to know the tech industry better. I decided to join a French start-up called Tigerlily that was creating a social marketing platform aimed at big brands. Working with developers, UX and UI designers, I was in charge of the digital marketing strategy for both the product and the clients. Two years later, I went back to Polydor to take over the digital department with a brand new vision focused on the challenge of connecting users and content through technology.

How is this movement of connecting users and content going? Are major labels using the most of tech tools when promoting their content? 

When I arrived at Tigerlily, I understood that these two industries are closely linked. In fact, I wrote a Medium article on the subject when I came back to the music industry at Polydor. Today, record labels share the goal of streaming music platforms: we want to enable people to listen to the tracks they like – and the tracks they could easily like – wherever they are. We also obviously want them to discover new talent and this is where technology helps us promote creative content in a smart way.

We have access to a huge amount of music, so listening to everything would take ages. Our mission then is to simplify this huge catalogue. This is why curation is a major axis of our strategy. At Universal, we are currently developing Digster, a platform for gathering popular artists with rising artists and rising trends. This positions us as the leader in the curation market.

These technologies we use are not only aimed at helping consumers discover new talents but also at gaining their loyalty to our entire environment – from artist pages to social media and advertising campaigns.

I have to admit it’s sometimes hard to find smart tools for our industry because we don’t sell a random product but a piece of art. Most of the smart platforms created for the music industry are for consumers. But, as the music industry is an interesting laboratory, we have recently seen some promising start-ups rising like Show.co and BandSquare.

We work closely with these companies to promote content and offer better, more intuitive experiences to help us engage consumers with our artists in the long run. The agility of our industry lets us integrate these new tools very easily, while always staying in line with our confidentiality guidelines and the protection of our users’ data.

Today, it is impossible to stay away from third-party platforms like Deezer, Spotify and YouTube. They are necessary for music consumption and music discovery. But it is mandatory for us to keep a strong hand on the overall traffic and database. This is why a tool like Show.co helps us create a simple interface, on both desktop and mobile, where all these different platforms are crossing. The user can then easily find core information on the artist: last video, buy links, exclusive content, concert dates.

Could you share with us one of your most efficient online campaigns? What were the goals and how did you achieve them?

In creative industries, the current trend is to offer always more complex and original experiences. But what the users are really looking for is some exclusive content. We work a lot with Show.co to offer exclusive content which help us then monetize. For example, to promote the new Tokio Hotel album “Kings of Suburbia”, we presented an exclusive new video on a Show.co minisite. Thanks to the email gating feature on this very page, we were able to collect the email addresses of more than 50% of unique visitors. Moreover, the user experience on the Show.co minisite accompanied fans to several links: to purchasing platforms and the entire environment of the artist, like the Vevo channel on YouTube.

What marketing tools do you see as being integral to your daily work?

We’ve never had such a large and rich catalogue at Polydor. As we are working on several projects at the same time, for local and international artists, we need simple and easy-to-use tools helping us grow our productivity and reach our goals (streaming, data acquisition, etc.). These are the ones I use on a daily basis:

  • Show.co for content promotion
  • Facebook and Twitter ads management platforms via SocialMoov
  • RadiumOne for retargeting
  • Connect, our internal CRM tool developed by Adobe Campaign
  • Artist Portal, our internal insight tool with dashboard gathering all analytics on an artist
  • Bandsintown for concert promotion
  • Hootsuite to manage all social accounts and optimize the publishing process.

I also work a lot with the APIs of the different platforms I use. The key to success is to integrate the features of these platforms in our own environment to optimize consumption, monetization and use of data.

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