artificial intelligence
The Artist Rights Symposium returns for a fourth year on Wednesday (Nov. 20) at a new location — American University’s Kogood School of Business. This year the day-long event will feature panels like “The Trouble with Tickets,” “Overview of Current Issues in Artificial Intelligence Litigation,” and “Name, Image and Likeness Rights in the Age of AI.” Plus, the symposium will feature a keynote with Digital Media Association (DiMA) president and CEO Graham Davies.
Founded by University of Georgia professor, musician and activist Dr. David C. Lowery, the event has been held at the university in Athens, Georgia for the last three years. Now that the event has moved to Washington, D.C., the Artist Rights Symposium can take advantage of the wealth of music professionals in the city. This includes D.C.-based panelists like Davies, Stephen Parker (executive director, National Independent Venue Association), Ken Doroshow (Chief Legal Officer, Recording Industry Association of America), Jalyce E. Mangum (attorney-advisor, U.S. Copyright Office), Jen Jacobsen (executive director, Artist Rights Alliance), Jeffrey Bennett (general counsel, SAG-AFTRA) and more.
The Artist Rights Symposium is supported by the Artist Rights Institute.
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See the schedule of events below:
9:15-10:15 – THE TROUBLE WITH TICKETS: The Challenges of Ticket Resellers and Legislative SolutionsKevin Erickson, Director, Future of Music Coalition, Washington DCDr. David C. Lowery, Co-founder of Cracker and Camper Van Beethoven, University of Georgia Terry College of Business, Athens, GeorgiaStephen Parker, Executive Director, National Independent Venue Association, Washington DCMala Sharma, President, Georgia Music Partners, Atlanta, GeorgiaModerator: Christian L. Castle, Esq., Director, Artist Rights Institute, Austin, Texas
10:15-10:30: NIVA Speculative Ticketing Project Presentation by Kogod students
10:45-11:00: OVERVIEW OF CURRENT ISSUES IN ARTIFICIAL INTELLIGENCE LITIGATIONKevin Madigan, Vice President, Legal Policy and Copyright Counsel, Copyright Alliance
11:00-12 pm: SHOW ME THE CREATOR – Transparency Requirements for AI TechnologyDanielle Coffey, President & CEO, News Media Alliance, Arlington, VirginiaDahvi Cohen, Legislative Assistant, U.S. Congressman Adam Schiff, Washington DCKen Doroshow, Chief Legal Officer, Recording Industry Association of America, Washington DCModerator: Linda Bloss-Baum, Director of the Kogod School of Business’s Business & Entertainment Program
12:30-1:30: KEYNOTEGraham Davies, President and CEO of the Digital Media Association, Washington DC.
1:45-2:45: CHICKEN AND EGG SANDWICH: Bad Song Metadata, Unmatched Funds, KYC and What You Can Do About ItRichard James Burgess, MBE, President & CEO, American Association of Independent Music, New YorkHelienne Lindvall, President, European Composer & Songwriter Alliance, London, EnglandAbby North, President, North Music Group, Los AngelesAnjula Singh, Chief Financial Officer and Chief Operating Officer, SoundExchange, Washington DCModerator: Christian L. Castle, Esq, Director, Artist Rights Institute, Austin, Texas
3:15-3:30: OVERVIEW OF INTERNATIONAL ARTIFICIAL INTELLIGENCE LEGISLATIONGeorge York, Senior Vice President International Policy from RIAA.
3:30-4:30: NAME, IMAGE AND LIKENESS RIGHTS IN THE AGE OF AI: Current initiatives to protect creator rights and attributionJeffrey Bennett, General Counsel, SAG-AFTRA, Washington, DCJen Jacobsen, Executive Director, Artist Rights Alliance, Washington DCJalyce E. Mangum, Attorney-Advisor, U.S. Copyright Office, Washington DCModerator: John Simson, Program Director Emeritus, Business & Entertainment, Kogod School of Business, American University
SoundCloud announced the roll out of a number of new AI partnerships on Tuesday (Nov. 19), underscoring its intent to integrate emerging technology into the platform — as long as it is used ethically.
Now, SoundCloud users will have access to six new assistive AI tools, including Tuney, Tuttii, Beatz, TwoShot, Starmony and ACE Studio. The company is also using Audible Magic and Pex to ensure that these new AI integrations are backed up by strong content identification tools that provide rights holders with proper credit and compensation.
These new partners join a list of existing AI integrations — Fadr, Soundful and Voice-Swap — SoundCloud has already worked into its platform. Now, any artist can use these tools and then easily share them to SoundCloud through a built-in “Upload to SoundCloud” option within each tool. Songs uploaded directly to SoundCloud will be automatically tagged to show the tool used (i.e. “Made with Tuney”) and artists can edit their newly uploaded tracks directly from their SoundCloud profile page.
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Additionally, SoundCloud has signed on to AI For Music’s “Principles for Music Creation with AI,” which was founded by Roland and Universal Music Group. Its principles include five points, like “we believe that human-created works must be respected and protected,” and “we believe music is central to humanity.”
SoundCloud Next Pro creators can access exclusive discounts and free trials for its nine partnered tools through SoundCloud for Artists.
“SoundCloud is paving the way for a future where AI unlocks creative potential and makes music creation accessible to millions, while upholding responsible and ethical practices,” said Eliah Seton, CEO of SoundCloud. “We’re proud to be the platform that supports creators at every level, fuels experimentation and empowers fandom.”
Learn more about the partnerships below:
Tuney: SoundCloud users can now use Tuney’s AI-powered tools to reinterpret original songs they have posted to SoundCloud (including private ones) without having to know the complexities of using a digital audio workstation (DAW). Using the new “Upload to SoundCloud” button, users can then share their creations quickly and easily back to the platform. Tuney’s Beat Swap feature is among the tools available to SoundCloud users, which can generate new remixes of a song by using a vocal stem and filling in the rest of the blanks.
In a statement provided to Billboard, Tuney CEO/co-founder Antony Demekhin said of the collaboration: “At a time when the major music companies are fighting tech platforms that illegally train on copyrighted works, we see this integration as paving the path for the ethical application of generative tech where rightsholders, artists and fans all benefit from innovation.”
Tuttii: SoundCloud fans can now use this AI-powered app to remix and mash up songs to share on social media with greater ease than using a DAW.
AlBeatz: SoundCloud users can now generate and customize professional-grade beats to work off of in their own original creations.
TwoShot: Created to help music producers kick start their creativity, TwoShot now offers SoundCloud users its massive sample library of AI generated sounds. The company also offers an AI co-producer tool, called Aiva, who can talk through musical ideas with users and help users search through TwoShot’s library.
Starmony: Tailored for singers and rappers, Starmony will now let SoundCloud users upload a vocal they’ve composed, and then the platform will provide professional-sounding production to fill in the instrumental elements of the song.
ACE Studio: With ACE Studio’s platform, musicians using SoundCloud can create their own AI voice models for use in the studio. For one, musicians can convert a melody, written out in MIDI, and convert it into a realistic sounding voice. This can also allow users to generate AI choirs of voices and edit vocals generated by Suno.
Pioneering producer and singer Imogen Heap has partnered with Jen, an ethical AI music creation platform, to launch two new models inspired by her musical stylings. The partnership was announced Thursday (Nov. 14) at the Web Summit conference in Lisbon, Portugal.
First, Heap is launching her own StyleFilter model, Jen’s patented tool that allows users to create original tracks that infuse the distinct musical styles of of an artist or producer into their new works. Specifically for Heap’s collaboration, the StyleFilter model was trained on her new singles “What Have You Done To Me” and “Last Night of an Empire.” Importantly, StyleFilter is said to do this while still “maintaining transparency, protection and compensation” for Heap. Secondly, Heap and Jen have also announced a new AI voice model trained on Heap’s distinct vocals.
Jen co-founder and CEO, Shara Senderoff, and Heap took the stage at Web Summit’s Centre Stage to demonstrate how StyleFilter works, transforming prompts into compositions that weave Heap’s style into a user’s original works. Watch their explanation below:
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Over her decades-long career, Heap has been viewed as an innovator, pushing the boundaries of art and technology. Since the early days of her career, she has popularized the use of vocoders. Later, she developed her own products, like the Mi.Mu gloves, a wearable tool that allows her to record loops and edit vocals with small hand movements, and The Creative Passport, a service that combines all of an artist’s information in one place from a bio, press photos, royalty accounting, set lists and more.
Last month, in an interview with The Guardian, Heap explained her new AI assistant, called Mogen, which is trained on Heap’s interviews, speeches and TK to act as essentially a living autobiography that can answer questions for fans in her persona. Later, she hopes to expand Mogen to be trained on her musical improvisation and to become a live collaborator at gigs.
Imogen Heap and Shara Senderoff at Web Summit
Jen is an AI music making platform that puts transparency at the forefront. Its Jen-1 model, launched in June, is a text-to-music model trained on 40 different licensed catalogs (and then verified against 150 million songs). It is also backed by APG founder/CEO Mike Caren, who came on as a founding partner in fall 2023. As Senderoff explained in a August 2023 interview with Billboard, “Jen is spelled J-E-N because she’s designed to be your friend who goes into the studio with you. She’s a tool.”
Jen uses blockchain technology to ensure transparency and the ability to track its works after they are generated and put out in the world. Each of the works created with Heap’s StyleFilter will be authorized for use through Auracles — an upcoming non-profit platform, designed by Jen, that uses data provenance to give artists have more access, control and permission for what is made using their StyleFilter model.
While other AI companies have worked on creating personalized AI music models, trained on a specific producer or artists catalog before, like Soundful Collabs, the team at Jen believes StyleFilter is different because “it can learn and apply the style of an artist by training on a single song, establishing a new level of creative precision and efficiency,” says a spokesperson for the company.
“Shara’s integrity shines an outstanding light at this pivotal moment in our human story,” says Heap. “The exponential curve of innovation in and with AI attracts opportunists primarily focused on filling their pockets in the gold rush or those racing at speed to stick their ‘technological flag’ in the sand to corner a marketplace. Alongside the clear innovation in products and new revenue streams for musicians at Jen, Shara’s inspiring strength and determination to get the ethical foundations right from the start are inspiring. An all-too-rare example of a service, contributing to a future where humans are empowered, valued and credited, within and for our collective global tools and knowledge.”
“At Jen, we are determined to create innovative products that invite artists to participate as AI reshapes the music industry, enabling their artistry to take new forms as technology evolves while ensuring they are respected and fairly compensated,” says Senderoff. “Our StyleFilter is a testament to this vision, introducing a groundbreaking way for users to collaborate with the musical essence of artists they might never have the chance to work with directly. Premiering this product with Imogen Heap, a pioneer at the intersection of music and technology, exemplifies our commitment to build with respect and reverence for those who paved the way. She’s also an incomparable human that I’m honored to call my friend.”
By the time Elvis Presley’s Comeback Special was taped in 1968, The King was not just on the ropes but nearly down for the count. A lengthy period in the wilderness starring in commercially successful but critically derided musicals throughout the 1960s had left his reputation in tatters as a new wave of musicians rose to prominence. There was hope, however, that a stellar performance at the special — for which a new song, “If I Can Dream,” was written — could help him win back the hearts of the American people.
This moment in time is where Elvis Evolution, an upcoming experiential installation in London, will begin for its audience. Set to debut at the recently-opened Immerse LDN in May 2025, the show’s creators view this as the moment when Presley was at his most vulnerable and authentic, making it the perfect jumping-off point for an odyssey that will trace the arc of his musical journey — from his upbringing in rural Mississippi to Memphis’ iconic Sun Studios and Beale Street to the backlots of NBC Studios in Burbank, California, where the Comeback Special was shot.
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To bring Presley’s musical journey to life, Elvis Evolution will utilize archival material and cutting-edge technology, including generative artificial intelligence, holograms and projections, alongside live music performances from a house band and themed set designs. The show comes from Layered Reality, a production company that fuses digital technology with live theater, and Academy Award-winning special effects company The Mill. In 2023, the former secured the rights from the Presley estate and Authentic Brand Group to license the icon’s image and likeness.
The announcement of Elvis Evolution came amid renewed interest in Presley’s life and music. In 2022, Baz Luhrmann’s jukebox epic Elvis told the story of the singer and his rocky relationship with manager Colonel Tom Parker. And Sofia Coppola’s 2023 movie Priscilla examined his first and only marriage from the perspective of his wife.
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Contrary to those interpretations, Elvis Evolution’s director Jack Pirie — who shares a co-writing credit with playwright Jessica Siân — says the show will remain focused strictly on the music. “What I hope we can do with this show is to move away from the myth of what Elvis represented and the image of him in his later years in a white jumpsuit in Las Vegas,” he says. “We want to go back to who he was as a kid, and look at the music he was listening to and how that shaped him.”
Pirie says Elvis Evolution resulted from the success of other, similarly tech-heavy experiences to debut in the U.K. recently. In 2023, cutting-edge digital art venue Outernet in central London attracted more visitors (6.25 million) than the British Museum (5.83 million). The wildly popular Abba Voyage experience, which started in 2022 and features performing avatars of the Swedish pop group, just extended its run into May 2025.
Even Taylor Swift‘s Eras Tour concert film, which was released in cinemas to big grosses last year, was cited by Pirie as an example of music fans being willing to celebrate in “a non-traditional environment.”
“Elvis didn’t sit at home listening to music on his phone, he had to go out and seek and experience it,” says Andrew McGuinness, founder/CEO of Layered Reality, which previously produced an immersive version of Jeff Wayne’s War of The Worlds musical and The Gunpowder Plot starring Tom Felton. “The fact that live music runs through the DNA of the story makes it a great property to do it this way.”
Elvis Evolution initially caused controversy when it was revealed that the show would use generative artificial intelligence to help recreate Presley in hologram form. But McGuinness and Pirie tell Billboard that the technology is being used only to enhance authentic moments in Presley’s career. For example, they say the technology will help bring new perspectives and sightlines to the ‘68 Comeback Special, for which only limited camera angles exist. As with any powerful tool, says McGuinness, you need to be “bloody careful” with how AI is employed: “We’re not trying to confect something and we take the responsibility with the utmost importance,” he says.
Tickets went on sale for Elvis Evolution in October, and only a limited number remain available through the show’s opening weeks — specifically, May 10 to June 1. The 110-minute experience will have timed entry, with several performances set to take place each day. Tickets start at £75 ($97), while VIP packages are also available, including the “Burning Love” experience, which includes additional merchandise and VIP seating, and the “If I Can Dream” package, which features tickets to the show, commemorative merch and premium access to the show’s daily after-party.
The show’s venue, Immerse LDN, opened at the Royal Docks’ ExCel convention center in July 2024 and is currently hosting both the Formula 1 Exhibition and The Friends Experience: The One In London, both of which use multi-sensory technology and set design. The immersive venue, which will total 160,000 square feet once completed, is part of a £300 million ($387 million) investment in ExCel.
McGuinness and Pirie’s hope is that Elvis Evolution will be successful enough to be toured globally, and they’re particularly excited about the prospect of taking it to some of the U.S. locations that have strong roles in his story, from Las Vegas to Memphis and beyond.
The show’s success could also create opportunities for similar experiences around other music icons; while McGuinness notes that the commercial demands and scale of such events make only a small group of artists “suitable,” he says discussions have already begun between Layered Reality and other artists’ estates.
Though Presley’s outsized legend makes him one of the few artists, living or dead, to be well-suited for such an elaborate and expensive production, McGuinness adds that one of the goals of the project was to strip away the iconography and get to the root of the person he was.
“There’s a humanity that can get lost with any musician or celebrity, and before I started this project, I was prone to seeing Elvis just as an ‘icon,’” he says. “But within this experience, you get to see him as a man, too.”
BERLIN — GEMA, the German performing rights organization (PRO), today sued OpenAI for copyright infringement in Munich regional court, alleging that the technology company used without permission lyrics from songs to which GEMA licenses rights. This makes GEMA the first PRO to file such a lawsuit, although it controls some rights that U.S. societies do not. This also seems to be the first case involving only lyrics; the case does not involve recordings. In its announcement, GEMA described the suit as a “model action,” aimed at clarifying copyright law in Germany, and potentially all of Europe.
Since OpenAI offers copyrighted song lyrics in response to prompts, GEMA is alleging that the company trained its software on song lyrics that it has the rights to license, so it is suing the company for violations of the making available and reproduction right. (Making available is a right under European law that in this case is roughly analogous to the right of public performance, or in this case public display. It’s also alleging two infringing reproductions – one to ingest the lyrics for training purposes and another when they are output.) In the U.S., PROs do not control mechanical rights, so they would not have the standing to file such a lawsuit.
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So far, most of the music business lawsuits involving AI companies have been over the ingestion of recordings, although that by definition would also involve the underlying compositions. But OpenAI is already facing a considerable amount of litigation, including a putative class action from authors, a lawsuit from The New York Times, and one each from online publishers and other newspapers. The issue in the U.S. is whether or not copying to train an AI qualifies as a “fair use” exception to copyright law. The record label cases against Suno and Udio will involve the same principle.
European copyright law provides “exceptions and limitations” to copyright, rather than fair use, and the 2019 Copyright Directive allows text and data mining unless rightsholders opt-out. In this case, however, GEMA has opted out for all of the works it licenses. (GEMA does not license the lyrics for all the songs in its repertoire, but the lawsuit involves ones for which it does.) This lawsuit aims to clarify the law, and it has the support of some big German songwriters, as well as their publishers.
“Our members’ songs are not free raw material for generative AI systems providers’ business models,” said GEMA CEO Tobias Holzmüller in a statement. “Anyone who wants to use these songs must acquire a license and remunerate the authors fairly. We have developed a license model for this. We are taking and will always take legal action against unlicensed use.”
The lawsuit comes as rightsholders around the world are becoming more concerned about how AI will affect the value of their works, as well as how they should be compensated for how it is trained. At the end of September, GEMA presented a licensing model for generative AI software that would compensate songwriters and publishers. It has also sent letters to AI companies stating they must license GEMA works in order to use them.
Since OpenAI both operates servers and makes content available in Germany, it will presumably have to operate according to German law. This seems clearer than the U.S. system, where fair use often involves considerable uncertainty. However, European countries do not offer rightsholders the opportunity to collect damages as high as they can get in the U.S.
A representative for OpenAI did not immediately return a request for comment.
Jerry Garcia‘s estate has partnered with AI voice company ElevenLabs to bring the late Grateful Dead guitarist, singer and songwriter’s AI-recreated voice to its Iconic Listening Experience on the ElevenReader app. Now, Deadheads using the app can hear Garcia’s voice read out audiobooks, e-books, articles, poetry, fan stories, PDFs and more in 32 different languages.
Garcia is the latest in a string of partnerships between ElevenLabs and famous estates. Already, the AI voice company has rolled out voice models for Judy Garland, James Dean, Burt Reynolds and Sir Laurence Olivier to its Iconic Listening Experience. According to a company spokesperson, ElevenLabs worked “in close collaboration with the Jerry Garcia Estate to ensure that the reproduction of Garcia’s voice was as authentic and true to his legacy as possible.”
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In addition to the ElevenReader, Garcia’s voice model will also be used in various upcoming projects associated with the Jerry Garcia Foundation. This could include narrated documentaries, audio art exhibits and more.
This announcement with the Garcia estate shows ElevenLabs taking another step towards infiltrating the niche of AI music. In May, the company’s head of design Ammaar Reshi gave a “very early preview” of an ElevenLabs AI music generator on X, formerly known as Twitter. For now, however, Garcia’s voice model is only available to read various texts.
The Garcia voice model is the latest instance of deceased or older musicians and their estates partnering with AI companies to market the artists’ catalogs and personas to the next generation of fans. Warner Music and the estate of “La Vie En Rose” singer Edith Piaf, for instance, partnered with an AI company to bring the late French singer’s voice back to life for an upcoming biopic, and last month, Universal Music Enterprises and Brenda Lee used AI to translate her Hot 100 No. 1 hit “Rockin’ Around the Christmas Tree” into Spanish, enabling Lee, who is now 79, recreate the youthful tone of her voice from the time when she originally recorded the song.
“My father was a pioneering artist, who embraced innovative audio and visual technologies,” says Keelin Garcia, daughter of Jerry and co-founder and vp of the Jerry Garcia Foundation. “In the 1990’s, my dad introduced me to the computer, digital art, and video games. When we traveled on concert tour, we played on Game Boy. At home, we’d have fun playing on the Macintosh in the studio where my father created his first digital art, and housed his MIDI guitar. Now, as technological landscapes continue to expand, ElevenLabs AI Audio technology will offer fans the first opportunity to hear and stream a replica of my father’s voice reading their favorite books and other written content.”
“At ElevenLabs, we’re committed to preserving and celebrating cultural legacies while pushing the boundaries of technology,” said Dustin Blank, Head of Partnerships at ElevenLabs. “By bringing voices like Jerry Garcia to our platform, we’re not just enhancing our app – we’re creating new ways for people to experience content.This project has been a labor of love, and we couldn’t be happier with how Jerry’s voice has been recreated. It’s a beautiful thing to bring his sound to life again for both longtime fans and a new generation of listeners.”
ASCAP and SACEM are expanding their existing relationship into an alliance that will allow them to invest together in data technology and collect directly from streaming services in more foreign markets, plus launch an AI task force and encourage collaboration among songwriters. Since 2022, SACEM has collected money from online services in foreign markets for ASCAP […]
Universal Music Group has entered a strategic partnership with AI music company KLAY. To date, KLAY has not yet released any of its products, but the AI start-up is said to be developing what it calls a “Large Music Model,” dubbed “KLayMM” which will “help humans create new music with the help of AI,” says […]
A new Spanish-language version of Brenda Lee‘s holiday hit “Rockin’ Around The Christmas Tree” was released Friday (Oct. 25), using “responsibly-trained” artificial intelligence to make the translation. A perennial hit for 66 years and counting, “Rockin’ Around The Christmas Tree” is the biggest song to have been translated into a new language using AI.
Released via MCA Nashville/Universal Music Enterprises (UMe), “Noche Buena y Navidad” was revamped by four-time Latin Grammy award-winning producer Auero Baqueiro. Baqueiro first translated the lyrics from English to Spanish, trying to match the same phonetics and rhyming structure that made sense for Spanish while maintaining the original lyrical themes from the original English version. Then, he enlisted Chile-born, L.A.-based vocalist Leyla Hoyle to sing the vocals in Spanish in a way that would capture Lee’s unique voice patterns, including intricacies like phrasing, tone, and breaths.
Baquiero ultimately kept the original music and background vocals and, once Hoyle recorded the raw Spanish vocals, used AI to map Lee’s voice over Hoyle’s performance. The translation was made possible using SoundLabs AI’s MicDrop technology, a “responsibly-trained” AI audio plugin that allows users to swap their voices out with another voice or instrument.
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The new AI-powered translation arrives just in time for the holiday season. Despite being released back in 1958, Lee’s “Rockin’ Around the Christmas Tree” is more popular than ever. Last year, her song hit No. 1 on the Billboard Hot 100 for the first time and stayed in the top spot for three straight weeks.
Lee is not the first artist to use AI to translate her work. In May 2023, HYBE debuted a new K-pop artist, MIDNATT, who used AI to release his first single in six different languages. In November 2023, indie-pop artist Lauv released an AI translation of his single “Love U Like That” in Korean as a nod to his strong fanbase in that country. Similarly to “Rockin’ Around the Christmas Tree,” a bilingual human songwriter, Kevin Woo, translated the “Love U Like That” lyrics to Korean. After Woo sang through the song, Lauv’s voice was planted on top of his vocals using the AI voice platform Hooky.
Finally, country icon Randy Travis made headlines in May 2024 by using AI voice technology to record a new single, “Where That Came From,” after his vocal abilities were greatly diminished in a near-fatal stroke a decade before.
The Spanish-language version of “Rockin’ Around the Christmas Tree” is the first release from Universal Music Group (UMG) and SoundLabs’ partnership, which was announced in June 2024. The AI company was founded by software developer and electronic artist BT and is said to be “responsibly” trained. The partnership is part of UMG’s “responsible AI initiative,” as laid out by the company’s CEO/chairman Lucian Grainge, which involves “forg[ing] groundbreaking private-sector partnerships with AI technology companies.”
“I am so blown away by this new Spanish version of ‘Rockin’ Around The Christmas Tree,’ which was created with the help of AI,” said Lee in a statement. “Throughout my career, I performed and recorded many songs in different languages, but I never recorded ‘Rockin’’ in Spanish, which I would have loved to do. To have this out now is pretty incredible, and I’m happy to introduce the song to fans in a new way.”
“We are thrilled to work with Brenda Lee to making ‘Rockin’ Around The Christmas Tree’ the first classic song translated responsibly into another language with the power of AI, added UMe president/CEO Bruce Resnikoff. “We are also very excited about the possibilities of this emerging technology and look forward to harnessing its capabilities to introduce new material created by and approved by our artists.”
“The minute you hear Brenda Lee’s iconic voice on ‘Rockin’ Around The Christmas Tree’ you know it’s the official start of Christmas,” said UMG Nashville chair/CEO Cindy Mabe. “The global hit has touched people all over the world and kept this young 13-year-old spirit of Christmas captured in a time capsule. We are all so excited for this new Spanish version created with the help of AI from that legendary voice and approved by Brenda Lee herself to help celebrate this enduring, timeless classic.”
Thousands of musicians, composers, actors and authors from across the creative industries, including ABBA’s Björn Ulvaeus, all five members of Radiohead and The Cure’s Robert Smith, have signed a statement opposing artificial intelligence companies and developers using their work without a license for training generative AI systems.
Signatories also include all three major record labels — Universal Music Group, Sony Music Entertainment and Warner Music Group — as well as a wide range of music trade organizations representing record labels, publishers and creators from the U.S., Canada, Australia, France, Germany, Spain, Austria, Mexico, the U.K., Ireland, Sweden and Brazil.
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“The unlicensed use of creative works for training generative AI is a major, unjust threat to the livelihoods of the people behind those works, and must not be permitted,” reads the single-sentence statement posted at aitrainingstatement.org.
Within several hours of going live on Tuesday (Oct. 22), the statement had been signed by more 11,500 people from across the creative arts, including actors Kevin Bacon, Sean Astin and Rosario Dawson; authors James Patterson, Ian Rankin, Ann Patchett and Kate Mosse; and music artists Billy Bragg, Max Richter and Norwegian singer-songwriter Aurora.
The global campaign was conceived and organized by Ed Newton-Rex, a British composer now based in the U.S., who has formerly held several senior executive roles at AI technology and music companies.
In 2010, Newton-Rex founded Jukedeck, a U.K.-based AI music generation company that provided music for video, TV, radio, podcasts and games. It was acquired by TikTok parent company ByteDance in 2019.
Following the acquisition, Newton-Rex, who is also a choral composer, went on to run ByteDance’s European AI Lab before becoming head of audio at tech firm Stability AI. He quit that role last year in protest of the company’s belief that it is acceptable to use copyrighted work without a license on “fair use” grounds without permission from rights holders.
Newton-Rex tells Billboard that several trade groups are supporting his campaign and helped gather signatories but have not provided funding for the initiative.
The statement comes amid increasing concern from creators and rights holders over how their works are being exploited by AI developers for generative training purposes — and how to rein those tech companies in.
Earlier this year, the three major record companies filed lawsuits against AI music firms Suno and Udio alleging the widespread infringement of copyrighted sound recordings “at an almost unimaginable scale.”
In the U.K., the government is soon to launch a consultation on how to regulate AI technology and is understood to be exploring a scheme that would allow AI companies to legally scrape copyright-protected content from artists and rights holders unless they “opt out.”
Creator groups say that any “opt out” solution would be highly damaging to the music business and would prefer an “opt in” scheme that grants rights holders the ability to approve the use of their works by AI companies.
Tech giants Google and Microsoft are meanwhile calling for the British government to soften the country’s copyright laws for AI firms and introduce an exception for text and data mining of copyrighted works, including music, for commercial purposes. Such a premise was raised by the previous Conservative government in 2022 but was abandoned a year later following strong criticism from musicians and creators.
“Copyright serves to safeguard the value of human creativity, while also driving value in the wider music and creative industries,” said Sophie Jones, chief strategy officer at U.K. labels trade body BPI, one of the organizations supporting Newton-Rex, in a statement. “If the U.K. is to remain a global creative powerhouse in an increasingly competitive world,” she continued, “the government must ensure that it is respected and enforced.”
Those views were echoed by the Association of Independent Music (AIM), which has also signed the statement.
“To achieve the benefits of AI for creativity, we urge policymakers not to lose sight of the need for strong copyright protections,” said AIM interim CEO Gee Davy in a statement on Tuesday (Oct. 22). She added that it was “vital” policymakers protect artists and rights holders “to ensure a healthy future for those who create, invest in and release music across genres and all communities, regions and nations of the U.K.”
Tuesday’s statement is just the latest salvo in the battle between generative AI companies and rights holders. In May, Sony Music released a statement warning more than 700 AI companies not to scrape the company’s copyrighted data, while Warner Music released a similar statement in July. That same month in the U.S. Senate, a bill dubbed the No FAKES Act, which aims to protect creators from AI deepfakes, was introduced by a bipartisan group of senators.