He might look as if he’s been around the block a few times, but 2019 marks Arthur’s 25th birthday, so to celebrate his landmark silver anniversary, we contacted some past winners of the coveted statuette, awarded annually at the International Live Music Conference (ILMC) in London.
As well as learning what the arrival of Arthur meant to their professional lives (and where he resides in their homes and offices), we asked our alumni to share their hopes and dreams for the future; their most memorable ILMC and Gala Dinner moments; and what new Arthur category they might like to see in our annual awards show.
Up next, following Royal Albert Hall’s Lucy Noble, is Live Nation/Ticketmaster’s Joanna Young, who won Tomorrow’s New Boss (then called New Business Talent), in 2016…
Winning the Tomorrow’s New Boss award is, to this day, one of the highlights of my career. I was so shocked to have won as I was up against so many incredible people. It really was a great feeling.
I keep my Arthur on my mantelpiece! I was so happy to have got him home after the awards that night in one piece that I haven’t moved him since.
Winning the award was so mad and unexpected that I was completely lost for words (which never happens). I wanted to dedicate the award to my amazing team (at the time the Live Nation UK marketing team) and to younger people in the industry working their arses off. That award is one of the few industry-recognised awards out there for those working their way up the ladder and I was aware of how lucky I was to even have been nominated. I wasn’t anywhere near as eloquent as I would have liked but I was truly grateful (and totally overwhelmed).
“My greatest hope for the future is that the next resurgence of rock’n’roll hurries up”
One of the best things about ILMC is sitting in a room with people from across the industry that all have different priorities and viewpoints – listen and absorb it all! The Q&A sections at the end of the sessions are often the most illuminating as you’re able to see the vastly different perspectives of the varying countries and parts of the industry. It has been invaluable for me, working in an international role now, to truly understand and appreciate the different, and similar, needs different markets have towards ticketing, and attitudes towards data-driven marketing.
Looking toward the next decade, identity based ticketing will become the norm, enabling us all to deliver incredible, tailored, safe live events, as well as signalling to marketers who is actually at the show rather than who bought the tickets. In turn, this means we should be able to increase the usefulness and creativity of our marketing as it becomes more personalised and relevant to each and every fan.
My greatest hope for the future is that the next resurgence of rock’n’roll hurries up. That Brexit doesn’t happen. That this industry works hard to implement actionable changes and schemes to ensure diversity is represented all the way up to board level.
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