Now, the Recording Industry Association of America (RIAA) has launched legal action against pioneering music-generation companies Suno and Udio. In response, last year a coalition of advocacy organizations and public health advocates sued both firms. It alleges that they trained their AI models on copyrighted material without consent. The RIAA, a formidable US trade organization, has traditionally been an advocate for the U.S. music industry. It’s ultimately designed to help address illegal appropriation of intellectual property in this rapidly developing AI environment.
Suno and Udio have developed AI music technologies that feature synthetic voices rapping about themes reminiscent of renowned artists such as Dr. Dre, N.W.A., and Kendrick Lamar. These AI-generated tracks include lines like “came up through the cracks with ambition in my pocket” and “Compton to the Cosmos,” reflecting narratives that resonate deeply within hip-hop culture. These companies have created technology to replicate the experiences of various artists. This framework raises critical issues of originality and suitability in music production.
Amanda’s reporting sits at the intersection of technology and culture. She’s been front and center about the lawsuit’s likely nationwide implications for the AI industry. Silberling received a B.A. in English from the University of Pennsylvania and has worked as a Princeton in Asia Fellow in Laos. Against this backdrop, he provides a sobering look at how legal challenges might influence the future of music generation technologies.
The legal battle is focusing on both Suno and Udio. It opens up critical lines of inquiry into copyright infringement as AI capabilities grow. Music companies such as Merlin, which represents artists like Adele and Nirvana, along with Kobalt, home to stars like Beck and Childish Gambino, are likely to watch this case closely. The results have the potential to help establish legal precedent that will inform how AI technologies relate to current copyright law.