Industry insiders are buzzing about the implications of AI in music creation, and it’s not all positive.
Dr. Joe Burns, the acting head of Southeastern Louisiana University’s Communication Department, recently addressed the growing integration of artificial intelligence in the music sector. Speaking at a meeting of the Hammond Kiwanis Club, Burns highlighted the significance of AI’s role in music production, particularly noting its potential to reshape the industry landscape.
With a background in radio programming and music production, Burns is well-equipped to discuss the evolution of technology in music. He emphasized how people have historically underestimated technological advancements, and he believes AI is currently at such a pivotal moment. He drew parallels to the evolution of video games, recalling how the early versions of “John Madden Football” have transformed significantly over the years. “In five years, the technology will improve exponentially,” he said, suggesting that the current limitations in AI-generated music will soon be surpassed.
During his presentation, Burns demonstrated the capabilities of AI music platforms like Genesis and Suno. He showcased how these tools can create music from simple text prompts, illustrating their effectiveness with quick examples. For instance, when he asked Suno to generate a song about being a nonprofit organization in Louisiana, the program delivered precisely what he requested. He recounted how his daughter was able to produce an entire album using Suno within a day.
Burns also discussed the rising fame of AI creators, such as imoliver, who utilizes AI as an instrument in his songwriting process. He explained that the artist typically experiments with 1,000 iterations of a song before finalizing it. Surprisingly, imoliver has secured a record deal with Hallwood Media, which contradicts the notion that AI-generated artists might struggle to gain recognition. This trend raises important questions about copyright laws, as AI’s influence prompts a re-examination of intellectual property rights.
Burns noted recent changes in the copyright office’s stance on AI, highlighting a shift in policy that now allows for some AI-generated works to be copyrighted as long as AI is deemed a tool in the creative process. He warned that artists may soon need to trademark their likenesses to protect against unauthorized AI reproductions of their music.
As Burns pointed out, AI’s increasing presence in the industry is evidenced by significant achievements, including The Beatles’ song “Now and Then,” which won a Grammy in 2025 despite being produced with AI. He asked his students if they cared about the origin of a song as long as they enjoyed it, and they largely responded that enjoyment trumps authorship.
However, he expressed his unease about the implications of these advancements. “Why should I go to a concert when I can create one myself?” he queried, indicating that this technology could undermine the traditional music experience. He summarized his thoughts with a sense of urgency, stating, “I don’t have a big conclusion; I just want to share my concerns.” During the Q&A session that followed, other attendees echoed his sentiments, sharing their fascination with AI while voicing apprehension about its future role in music.