Jack Antonoff, the frontman of Bleachers, has publicly voiced his concerns regarding the increasing prevalence of artificial intelligence (AI) in music creation. In a post shared on Instagram on May 13, the musician expressed strong opinions on the topic, outright critiquing those who utilise technology to generate art rather than relying on traditional methods of creativity.
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In his lengthy note, Antonoff articulated that music-making is an “ancient ritual” integral to the artistic process. He conveyed the sentiment that the allure of music lies not in its efficiency or speed, but in the unpredictability and serendipity of creativity. “We’ve never been looking for this work to become quicker or easier,” the 42-year-old stated. He believes that reducing the artistic endeavour to a mere optimisation process detracts from what truly inspires musicians to create.
Antonoff’s remarks come amid a growing trend where some artists employ AI to assist in songwriting and production. The Bleachers frontman directed a pointed message to those who embrace AI in their craft, suggesting that their approach threatens the authenticity of artistry. “So to everyone who is gassed up about the new ways you can fake making art, by all means drive right off that cliff,” he wrote. He concluded his critique by asserting that future generations will continue to engage in the time-honoured practices of writing, recording, and performing music.
In his fervent denouncement, Antonoff described those who leverage AI as “godless whores” and expressed embarrassment over the notion that creators would seek to streamline what he considers a sacred process. His comments reflect a deeper worry about how the industry might evolve in the face of technology, particularly for artists struggling to make a living through their work. “As we embark on this strange detour, the bad actors will willingly reveal themselves through slop,” he added, emphasising that true artistry cannot be hastened or faked.
Despite Antonoff’s strong stance, some artists are finding valuable ways to integrate AI into their work. Boy George, for example, has openly discussed his experiences with AI, stating he has created multiple albums using the technology. In a recent podcast, he voiced a more optimistic view, suggesting that those who fear being replaced by AI need to push themselves harder in their craft. He acknowledged the potential job losses in the music industry but also highlighted the innovative possibilities that AI technology presents.
Liza Minnelli also defended her participation in AI-assisted music, clarifying that while AI was used in arrangements for her collaboration on “Kids Wait Till You Hear This,” she personally sang the vocals. This remark points to ongoing debates within the creative community regarding the ethical and artistic implications of AI technology in the industry.
Concerns about AI’s impact on music have not been limited to the views expressed by Antonoff and Minnelli. SZA has voiced her apprehensions, suggesting that the explosion of AI-generated music is disproportionately affecting Black musicians. During a conversation with i-D Magazine, she remarked that the prevalence of AI covers of emerging artists undermines their hard work in securing their rightful place in the industry. “Why am I hearing AI covers of Olivia Dean when she can’t even collect the streams?” she asked, expressing frustration at how algorithms may trivialise the struggles of authentic artistry.
As the debate over AI in music unfolds, it highlights the tension between tradition and technology in a rapidly changing creative landscape. Antonoff’s forthcoming album with Bleachers, titled “Everyone for Ten Minutes,” is set for release on May 22, suggesting that he intends to remain grounded in the very processes he champions despite the digital revolution reshaping the industry.
The conversation around AI in music poses significant questions about the future of artistic integrity and authenticity, leaving many to ponder the roles that innovation and tradition will play in the creative fields. While some artists embrace the advancements, others like Antonoff remain fiercely protective of the art form, advocating for a return to the roots of music-making as an essential and spiritually enriching process.