Q&A with Artists

Fiammetta Poidomani is a musical performer, singer and songwriter. Born in the extreme south of Sicily, she grows up in a very stimulating family environment: she starts singing and playing the guitar at a very early age, performing in a duo with her sister, and writing songs with her mother, who always supports her.
She studied classical guitar for some years, and attended singing classes. Yet she also has a strong passion in theatre, which drives her to attend the Musical Theatre Academy in Catania: this allows her to develop acting skills as well, giving more energy to her singing style.
Different influences contribute to build up her style, from rock music to traditional folk and culture. Her music is often connected to protest and social justice, and she supports her voice with the guitar and other string instruments such as Irish bouzouki or Celtic harp. Her voice permits her to explore different kinds of style: what she likes most in making music is mixing and experimenting various possibilities with musical genres.
The messages her music tries to convey are often linked to social matters such as rebellion against any kind of abuse, but her songs are also developing into a more intimate and personal sphere.
In 2010, with her sister Serena she got the first prize of the National Competition “Musica Controcorrente ” in Rome, receiving excellent feedback for their unpublished song, La Cartomante, inspired to Renaissance sonorities. After this experience, Fiammetta went on developing her own career, performing live in many important international festivals and cultural events in Italy and abroad. In 2013 she performed at “Celtica Val d’Aosta Festival ” with harpist Fabio Rizza with new arrangements on the traditional celtic repertoire. In 2019, on the occasion of Greek Theatre’s Classical Tragedies festival in Siracusa, she is hired in the tragedy play The Trojan Women by Euripide, directed by French director and actress Muriel Mayette-Holtz. From that moment, she collaborated with composer Cyril Giroux, experimenting on new sounds and backgrounds for her music. In 2021 she signed with music label Rehegoo Music for the publishing of her song Canto per Tiresia and she is currently working on new songs to release.
How would you describe your style?
My aim is to find my own personal style, and I’m still experimenting on it.
I like to go against the rules, to face different kinds of genres, always trying to express my personality, without conforming to others
Why do you do what you do?
Singing is just necessary. Nowadays we are used to considering music as a simple entertainment, we listen to it every minute, we have it all around us, on the tv, in shops, we don’t even notice it… so I think we somehow lost the most authentic sense of it. In some cultures music has a healing power, it is used to cure the soul, and carries all the functions of a religious prayer. That’s the most significant sense I give to music and singing.
Ambition or talent: which matters more to you?
Talent comes first. A certain amount of ambition is necessary to succeed, but it should come naturally once you realize you’ve got talent.
What inspires you to create music?
Life, human beings, social and political matters, myths, literature, poetry.
How did you find the scouting process in Rehegoo?
Great. It’s a pleasure to work with this team: my Italian Rehegoo referent, Veronica, is a very helpful and nice person.
How did you feel when signing a contract with Rehegoo?
It was an important moment, a new phase of my career, and I was very happy. Rehegoo is undoubtedly a good opportunity for those who wish to work with music.
What is the greatest achievement of your career so far?
As a singer, it’s definitely the first publishing of my single “Canto per Tiresia” with Rehegoo Music in February 2021. I am particularly affected by this song, but I thought it hadn’t a lot of possibilities to be published because it wasn’t commercial at all. But the team of Rehegoo is made of very professional musicians, and it was instantly interested in it. It was a great satisfaction.
What has been the biggest obstacle?
I’ve always found it difficult to conform to the “standards” of our times, for example, to be somehow forced to fit my music to “what people like” in order to make it marketable. Most of the music producers think this way, a song has to be commercial if you want it to succeed. But in my opinion, this is not true: a song has to be sincere, that will make it remarkable.
What is the best and worst gig you have ever played?
The best was at the Greek theatre in Siracusa in Sicily, in front of 5000 people on the occasion of the Refugee’s Day in 2019. It was an amazing experience, the energy you could feel down there was incredible.
I do not remember really the worst gigs… I have always tried to take the good from every experience I made!
What is your worst and best fan moment?
Like every artist, I have a narcissistic side too, and I like to receive compliments from fans. But I am a quiet reserved person, and sometimes it can be embarrassing, then I don’t know what to say or what to do.
But when they say something special, heartedly, from which I can get that I really touched them with my voice, that’s absolutely the best moment. Our job would make no sense without people who support us.
What is a favorite song of yours?
“Canto per Tiresia”. It is dedicated to Andrea Camilleri, a famous Sicilian writer who was also an important symbol of cultural identity in Sicily. I also like this song because it was the result of a team work: my mother Chet Cavalieri initially wrote a poem and I adapted the lyrics to the music, composed by French composer Cyril Giroux.

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