Here's a figure to understand - 71% of musicians are using AI to separate stems, not to replace themselves.

The debate about AI and music has been almost entirely about text-to-song generators. The actual data shows that's what the least number of musicians use AI for. Most are using it for stem separation, backing tracks, ear training, and mixing assistance - tools that make their practice more viable, not tools that replace it.

Bottom line - musicians are still making music. I think they always will. No-one can replace passion with technology. The consent and royalty dilution problems are real. The training data problem is real. Seven million AI-generated tracks are being uploaded every day and they are absolutely affecting the royalty pool. None of that is resolved by pretending the 71% using AI as a tool to enhance their practice are doing the same thing as the content farms flooding distribution infrastructure with synthetic material. They are not.

The Pack's position is about what kind of content the platform supports, not about which software musicians use to make it. Keeping those two questions distinct matters for the quality of the argument - and for the working musicians who don't need to be told the tools they rely on are disqualifying.

New blog explores what musicians actually use AI for, and why conflating different uses has been confusing the conversation.

👉 https://www.packmusic.au/blog/the-71-percent

#AIandMusic #MusicIndustry #IndependentArtists #AIethics #MusicTechnology #ThePackMusic #HumanCuration #ArtistRights

Let me tell you about $300.

$300 is what the average independent musician earns from streaming in a year. Not a bad month - a year.

For music played daily in cafés and cars and bedrooms and workplaces across the country.

Douglas Adams once wryly observed that the major difference between something that might go wrong and something that cannot possibly go wrong is that when something that cannot possibly go wrong goes wrong it usually turns out to be impossible to get at or repair. The architecture of major streaming platforms is a little like this.

The Pack is built outside that architecture. 70 cents of every subscription dollar goes straight to the independent Aussie artists YOU actually listened to this month.

We're crowdfunding to launch. Help us get there. https://crowdfunding.startsomegood.com/thepackmusiccoop

#ThePackMusic #MusicIsWork #IndependentArtists #AustralianMusic

The UK government spent most of 2025 proposing that AI companies could train on any creative work unless rights holders actively opted out. On 18 March 2026, they dropped it. "We have listened," said the UK Technology Secretary.

Here's what the opt-out proposal actually was: a system where your work was available by default, and you could reclaim it if you were organised enough, resourced enough, and technically literate enough to do so in a machine-readable format, on every individual piece of work, across every platform.

Major labels have legal teams and metadata infrastructure for that. An independent musician with a day job does not. The policy was described as protecting all creators equally. It would have protected the creators who least needed protecting, and not the ones who do.

A thousand musicians - Dua Lipa, Kate Bush, Paul McCartney, Thom Yorke, ABBA - released a silent album in protest. The tracklist spelled it out: "The British government must not legalise music theft to benefit AI companies." Of 10,000+ consultation respondents, only 3% supported the opt-out proposal. They may have won this round, but the fight isn't over. AI is moving faster than policy ever could. Beware the gap, and what emerges in the policy vacuum.

New blog on what the opt-out trap was, why it failed, and what the silence of a thousand musicians actually said.

👉 https://www.packmusic.au/blog/the-opt-out-trap

#AIcopyright #MusicRights #UKMusicPolicy #CreativeRights #IndependentArtists #AIethics #ThePackMusic #MusicIndustry #CopyrightLaw

🎶 Playing on CWR Indie Channel — The New Indies Show 🎶

A new episode brings together a selection of independent artists, each contributing a different sound and atmosphere to the stream.

The episode opens with PeTeR FRYD and Steve Heathcock, before moving through Ripio and Nigel Davies. The flow continues with Trace Ellis and 3TL (Third Time Luckie), followed by Chandra and Bree Taylor.

👉 www.catorweb.net/cwrindie

#Ripio #CatorWebRadio #Usa #CWRIndieChannel #IndieMusic #IndependentArtists

🎶 Playing on CWR Indie Channel — The New Indies Show 🎶

A new episode brings together a selection of independent artists, each contributing a different sound and atmosphere to the stream.

The episode opens with PeTeR FRYD and Steve Heathcock, before moving through Ripio and Nigel Davies. The flow continues with Trace Ellis and 3TL (Third Time Luckie), followed by Chandra and Bree Taylor.

Further along, the lineup includes Noir Addiction and Ellinor Springstrike, while Code Words and Red Sky shape the later part of the episode. The closing section features Eric Cormier, Mattie Rose & Brett Penington, and Stacey Lowery, completing the broadcast. Different independent voices sharing the same stream, track after track.

🎧 Playing on CWR Indie Channel

👉 www.catorweb.net/cwrindie

#Ripio #CatorWebRadio #Usa #NowPlaying #NewIndiesShow #CWRIndieChannel #IndieMusic #IndependentArtists