Kreidich had spent eight years at The Orchard building its commercial insights team, integrating tech into how the company was expanding and parsing data to help optimize commercialization for the company’s label partners. So when it came to the issues that faced ADA upon her return, she had experience in addressing the problems. But just a few months into her tenure came another change: ADA’s then-president,— whom she calls “a great advocate for me” — announced he was leaving the company.
I started my career at Universal Motown and then went on to Virgin, and the reason why I ended up at Caroline was because of the passion for the music and the labels. My passion was always to work with the music that I loved and identified with, so I think a big part of being at each of those places was really understanding culture and the culture of representing music from a lot of different backgrounds and styles.
Warner had not made the same tech investments or acquisitions that the other majors did. They had been growing their [distribution] business as it was in this very shared service mentality that had worked for a while, and I think there was an opportunity clearly to take advantage of more and more music in small corners of the world as more and more DSPs were saturating markets with subscriptions. So it was really about three things for me.
So we were really specific about the kinds of talent we were bringing in that was going to differentiate us as we built our tech. And that was really the third thing that was most important, not only for just the idea of getting a piece of content from here to the DSP and back but also just tools and tech that would help us communicate over time zones better, help us to ignite priorities without having to email something.