LOS ANGELES β€” When an AI-generated country song called "Walk My Walk" hit No. 1 on Billboard's country digital song sales chart in recent days, it was credited to a fictional artist named Breaking Rust β€” a white, digitally generated avatar that didn't exist two months earlier.

But the song's vocal phrasing, melodic shape and stylistic DNA came from someone who does exist: Grammy-nominated country artist Blanco Brown, a Black music artist who worked with Britney Spears, Childish Gambino and Rihanna.

"I didn't even know about the song until people hit me up about it," said Brown, whose 2019 country rap hit "The Git Up" helped usher in a new, hybrid era of country crossover. FriendsΒ floodedΒ his phone with messages about the AI song.

"Somebody said: 'Man, somebody done typed your name in the AI and made a white version of you. They just used the Blanco, not the Brown," he recalled.

Blanco Brown arrives Nov. 20, 2024, at the 58th Annual CMA Awards at Bridgestone Arena in Nashville, Tenn.

It's another example of how generative AI upended the music industry, giving anyone the ability to instantly create seemingly new songs by typing prompts into a chat window, often using models trained on real artists' voices and styles without their knowledge.

The credits for the grit-filled, chant-heavy track "Walk My Walk" list Aubierre Rivaldo Taylor as one of the song's creators, with streaming platforms such as Apple Music and Spotify identifying him as the songwriter and producer. In recent months, Taylor also was credited on streaming platforms as the songwriter and producer behind Defbeatsai β€” one of several X-rated, AI-generated country artists that exploded across social media last year.

The Defbeatsai ecosystem, however, connects back to another figure in Brown's past: Abraham Abushmais.

Abushmais co-wrote a couple of songs on Brown's 2019 album "Honeysuckle & Lightning Bugs" and is listed as the developer of Echo, an obscure AI-powered music generator app promoted on one of Defbeats.ai's Instagram pages with a link encouraging users to "make your own hit country song."

The AP reached out to Abushmais for comment but did not receive a response.

The digital avatar fronting "Walk My Walk," a white, AI-generated country singer built with a vocal approach modeled on Brown's sound, is where the moment shifted from eerie to uncomfortable.

"It's a white AI man with a Black voice," Brown said. "And he's singing like a Negro spiritual."

Blanco Brown performs June 8, 2024, during CMA Fest in Nashville, Tenn.

For Brown, the shock quickly gave way to action. He went into the studio and recorded his cover of the song, which was since released. He also planned to put out a reworked derivative of the track Monday with new lyrics and a new arrangement.

Brown's management said his response to the song is a direct challenge to the legal, ethical and policy void surrounding AI-generated music. He wants to use his own lived experience to force the industry and lawmakers to confront who owns art and what happens when technology outpaces the rights of the human creators it imitates.

"If someone is going to sing like me, it should be me," he said.

For musicians and educators, the success of "Walk My Walk" made one thing clear: AI-generated music leapt from internet experiment to commercial disruptor.

"We are entering a very strange and unprecedented period of both creation and industry," said Josh Antonuccio, director of the Ohio University Music Industry Summit. "AI has essentially democratized the act of music creation itself."

That democratization came with no guardrails. Major record labels sued Suno and Udio, two of the most popular AI song generators, accusing them of training their models on copyrighted recordings without permission.

"These companies trained their platforms on a volume of recorded music without permission," Antonuccio said. "It leaves creators in this strange purgatory where they're not getting compensated."

Some labels shifted from lawsuits to negotiation. Universal Music Group recently settled a copyright infringement lawsuits with Udio and signed a new licensing agreement with the platform. Warner Music Group followed with its own deal Tuesday, partnering with Suno in what the companies called a "first-of-its-kind" agreement to develop licensed AI music that both compensates and protects artists.

The sudden success of "Walk My Walk" also raises questions about the tools enabling it. Educators say most chart-ready AI vocals today are generated through systems like Suno and Udio, which let users create full songs by prompting musical genres, vocal styles and lyrical ideas.

For Brown, who insists he's not anti-AI, it's aΒ cultural issue as well as a legal one. He's proud that his sound inspired someone, but he understands what the moment exposes.

He spent years navigating country music as a Black artist who blends gospel, hip-hop, pop and twang. He was nominated for a Grammy and embraced by the Recording Academy, but country radio hasn't given him consistent traction.

Meanwhile, an AI song built on his vocal identity and paired with a white avatar went straight to No. 1, a dynamic he says reflects a familiar pattern in Nashville: Black artists' innovation being reattributed.

"He created something with my tone and gave it a white face," Brown said. "(Race) is an understatement in Nashville."

Music educators say the issue goes beyond authorship. While AI tools can convincingly approximate sound, they aren’t able to capture the source of it.

β€œThere are things a real artist conveys that the digital part never will,” said Shelton β€œShelly” Berg, dean of the University of Miami's Frost School of Music and a Grammy-nominated pianist. He spoke shortly after appearing on on a Future of Music panel at the Grammy Museum in Los Angeles last week. β€œThey occupy fundamentally different spaces.”

Berg said AI tracks can sometimes be polished in an eerie manner, but the intangible elements of performance remain out of reach.

β€œThere's an energy between an artist and an audience that happens in real time that you can't see but you can feel,” he said. β€œWe are so many light years away from that happening in an AI environment.”

For Brown, the arrival of an AI artist built on his tone only underscored something he learned repeatedly in Nashville: talent is one thing, but how the industry assigns value is often something else.

β€œI go through this every day with real people who steal and borrow from what I do,” Brown said. β€œSo I don't care if it's a robot or a human. They're not giving me credit anyway.”

In a fast-changing landscape, Brown said artists will have one final advantage that machines can't mimic.

β€œReal artists are always going to prevail,” he said. β€œPurpose lives where greed can't.”


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