At the age of 79, Liza Minnelli returns, after a 13-year hiatus, with a dance piece created with the help of artificial intelligence, in the context of the growing controversies related to the use of AI in music.
Liza Minnelli, one of the iconic figures of the American music and film scene, has released her first new song after a 13-year hiatus, choosing to mark her comeback with a project made with the help of artificial intelligence.
The 79-year-old artist confessed on social networks that she put her voice on a dance track generated by AI, characterizing the song as an approach that combines personal artistic expression with new technologies.
The song is titled “Kids, Wait Til You Hear This”, title that will also be carried by his upcoming memoir and represents an unexpected incursion into the deep house area, a musical genre in which Minnelli intervenes through spoken fragments, supported by an electronic rhythmic background.
It is the artist’s first music release since 2013, when she performed a song for the American music series Smash.
In a Facebook post, the artist praised the company behind the piece, ElevenLabs, describing it as “a six billion dollar techno giant (doing) amazing things.”
“What will I not allow this wonderful company to do? Create, clone or copy my voice! … I used AI arrangements. Not AI voices … The shouts are all mine!”, the artist wanted to explain.
His position is also detailed in a press release accompanying the release.
“I’ve always believed that music is about connection and emotional truth. What interested me here was the idea of using my voice and new tools in service of expression, not in place of it. This project respects the artist’s voice, the artist’s choices, and the artist’s ownership. I grew up watching my parents create wonderful dreams that belonged to other people. ElevenLabs makes it possible for anyone to be a creator and an owner. That’s what matters.” she relayed.
Liza Minnelli’s piece is part of a compilation that brings together several musical creations made or modified with the help of artificial intelligence.
Among the artists involved in such projects is Art Garfunkel, whose song, “Authorship,” includes an excerpt from his memoir, “What Is It All But Luminous.” The lyrics, in which he pays tribute to his father, is backed by an AI-created piano accompaniment.
“Music has always evolved with technology, from microphones to multitrack recording,” so did ArtGarfunkel. “What struck me about this experience was the respect for musicality. The human remains at the center of attention. My voice and the technology just open another door.” the artist thinks.
Critical reactions from the music industry
The enthusiasm with which Liza Minnelli and Art Garfunkel have embraced artificial intelligence stands in stark contrast to the reserved or critical stances expressed by other established artists who warn of the impact AI-generated music could have on the industry.
Ed Sheeran has drawn attention to the risk of job losses for musicians.
“If you’re taking a human’s job, I think that’s probably a bad thing. The goal of society is for us all to have jobs. If everything is done by robots, everyone’s going to be out of a job. I think AI is a little weird.” he stated.
For his part, Lil Wayne was skeptical that artificial intelligence could authentically reproduce his voice: “I’m naturally, organically amazing. I’m unique. So actually, I’d like to see how that thing tries to reproduce the bastard.”
AI is gaining ground in music as well
Despite these criticisms, “generative artificial intelligence” companies continue to grow rapidly. Platforms such as Udio, Suno and Klay have deals with major record labels, giving users the ability to modify artists’ work or create entirely new tracks based on textual commands, using AI models trained on existing music. Artists can decide whether or not they want to make their creations available to these services.
Initially, the record companies reacted hostilely, threatening legal action, but later agreements and partnerships were made. After reaching deals with Universal and Warner, Udio recently announced a collaboration with Merlin, the organization that represents independent labels such as Beggars Group, Epitaph, Domino, Sub Pop and Warp.
In an interview with The Guardian newspaper this week, Suno founder Mikey Shulman acknowledged the scale of the phenomenon.
“I’ve been told we’re the Ozempic of the music industry – everyone uses it but no one wants to talk about it,” he said.
