People call it fake art; they are scared if it is not. Just like how they called photography wasn’t art, film with sound wasn’t art, new technologies always make people feel fear first. Now they say AI music isn’t music. History keeps repeating itself.
It’s undeniable that most AI-generated music in the market today can’t be considered “good”, but that is precisely because the medium is still in its infancy. The handful of truly great tracks have already broken through those constraints and revealed their potential.
The backlash against AI music reflects our fear of change instead of the real quality. Not only in other forms of art, but also in the history of music technologies. From synthesizers to auto-tune, some technologies have already been widely used but still criticized as “unauthentic”.
In 2025, most of the AI music were generated by Suno AI or Udio, where users input text as prompts, and the generator will produce the entire piece including melodies, lyrics, and even vocals. This is the most trending method of AI generating music.
“I went to another AI website that can recreate the voice. I put the text in that and I played the record and people went nuts.” —— David Guetta
In Billboard’s 2025 AI music overview, multiple AI generated songs appear on the list. This is not a niche market; it has already become the mainstream trend. AI has not replaced music; it is expanding the vision of music production by providing possibilities. Musicians and critics often ignored the fact that artificial intelligence has not diminished our creativity. It twisted the way that production no longer requires producers to know how to play musical instruments, but understands how to generate precise, clear, thorough prompts, analyze, curating outputs, and refining their prompts.
The comment session reveals something important: audiences are not refusing AI music when they don’t know it’s AI generated. When appreciation comes before “real” and “artificial”, music is meant to transmit expressions. The goal was satisfied, as music has always been defined by experience, not by the tools used to create it.
Another comment under it says “people are singing países to Jesús, no AI. I remember when I, as a Baptist musician. Was not allowed to worship with the electric guitar in the late 70s because it was considered an instrument of the devil.” History has already shown how this story ends. Technologies that were once rejected become normal, and eventually invisible, so do AI.
Thus, the issue is no longer Whether AI music is “real” or not. The issue is whether we are willing to accept that the concept of creativity in not only music, but art has changed.
Han Tianyong 
Yinan Zhou 
Xinyue HOU