The U.K. government is advancing its initiative to attract more AI companies by proposing changes to copyright law, allowing developers to train AI models on artists’ online content without needing permission or payment, unless creators explicitly choose to “opt out.” However, this proposal has sparked differing opinions.
Recently, a collective of 1,000 musicians created a “silent album” to protest the proposed changes. This album, titled “Is This What We Want?”, includes tracks from renowned artists such as Kate Bush, Imogen Heap, and composers Max Richter and Thomas Hewitt Jones. It also features contributions from notable figures like Annie Lennox, Damon Albarn, Billy Ocean, The Clash, Mystery Jets, Yusuf/Cat Stevens, Riz Ahmed, Tori Amos, and Hans Zimmer.
The album does not contain music; instead, it presents recordings of empty studios and performance spaces, symbolizing the artists’ belief in the detrimental impact of the proposed copyright law changes. Thomas Hewitt Jones described his contribution as capturing the sounds of his cats moving around his studio.
The album’s 12 tracks convey a clear message through their titles: “The British government must not legalize music theft to benefit AI companies.” This effort highlights widespread concerns in the U.K. about copyright handling in AI training, mirroring protests in other countries like the U.S., where similar unease among artists is prevalent.
The project is led by Ed Newton-Rex, who has been actively campaigning against AI training without proper licensing. A petition he initiated has garnered over 47,000 signatures from creatives, including nearly 10,000 since the announcement of the U.K.’s AI strategy. Newton-Rex also runs a nonprofit focused on certifying companies that avoid unauthorized use of creative work in AI training.
Newton-Rex has experience on both sides of the debate, having formerly developed Jukedeck, an AI-driven music composition platform. Jukedeck, which won a TechCrunch Startup Battlefield competition in 2015, was subsequently acquired by TikTok. Newton-Rex’s journey includes roles at various tech firms like Snap and Stability. He now resides in the Bay Area and is contemplating how to balance innovation with respect for creators’ rights.
The album’s release coincides with the impending copyright law changes in the U.K., which necessitate proactive “opt-out” actions by artists who wish to protect their work. Newton-Rex criticized this approach, noting the lack of an established opt-out method or a reliable way to track the use of specific materials in AI systems. He argues this effectively results in the unconsented use of the majority of artists’ work by AI companies.
As an alternative, some artists are considering producing music in markets with stronger protections, like Switzerland. An in-person protest saw Hewitt Jones tossing a keyboard into a harbor in Kent—a symbolic act denouncing the current situation.
Artists express frustration over being encouraged to share work online for exposure, only for AI companies and governments to then exploit this accessibility. The protest album will be available on various music platforms, with any proceeds directed to the charity Help Musicians.
