The music industry is undergoing a significant transformation as Universal Music Group (UMG) announces a new initiative to accelerate its investments in artificial intelligence (AI) music technology. This partnership raises questions about the future roles of traditional artists, songwriters, and producers. Critics, including music producer and author Bobby Owsinski, express concern that the industry may prioritize AI-driven solutions over human talent to reduce costs and speed up music production.
UMG’s recent move appears to signal a shift in how the industry values human creativity. The announcement comes shortly after Hallwood Media revealed a partnership with Imoliver, recognized as the top-streaming music designer on the AI-powered platform Suno. While Imoliver is a human creator, the label of “AI music designer” hints at a future where AI-generated music could overshadow traditional songwriting.
Owsinski describes his mixed feelings about AI music creation. On one hand, he acknowledges that working with AI can take skill and time. Musicians with training may achieve better results by guiding AI systems to create specific sounds. On the other hand, he argues that AI lacks the unique insights and creative decisions that often lead to hit songs, drawing comparisons to classic tracks like The Beatles’ “Yesterday.”
While AI can serve as a useful tool for musicians—providing virtual drummers or vocalists for demos—Owsinski warns that embracing AI as a legitimate profession could ultimately undermine the work of skilled artists and producers. He reflects on the potential for AI-generated music to be perceived as inferior, stating that the public largely rejects what he terms “AI slop.” As the creative landscape evolves, he believes that genuine talent will always find a way to resonate with audiences.
The implications of UMG’s move extend beyond artistic concerns. By investing heavily in AI technology, the label aims to reduce its largest expense: compensating artists and songwriters. As the industry shifts toward catalog management and intellectual property, Owsinski suggests that the rise of AI and virtual artists may align with a corporate mindset that prioritizes profit over creativity.
Despite these challenges, Owsinski remains hopeful that a new wave of artists dedicated to genuine music creation will emerge, leaving behind companies that do not prioritize authentic artistry. As the debate over AI’s role in music continues, it remains to be seen how both industry professionals and the public will respond to this evolving landscape.