Deezer, the France-based music streaming service which developed tools last year to tackle AI-generated music, said in a statement to the BBC that “many of her albums and songs on the platform are detected and flagged” as being computer-generated. Moreover, as the BBC points out, Rose “has no social media presence, has never played a gig, has no videos, and has released an improbable number of songs in a short space of time.” All are signs that indicate that the artist isn’t real.
Source: The Plot Thickens on Suspected AI Singer Sienna Rose
If trained professionals can’t reliably detect AI, everyday listeners won’t either. The behaviour is stable and repeatable. Millions search for and share AI covers and remixes daily. That consistency is the basis of every revenue line the industry has ever built. What’s missing is licensed infrastructure. The biggest short-term commercial opportunity is AI cover versions and remixes.
Van der Velden says she is not out to replace real actresses. She is after something else—a new visual language of acid-trippy world building and uncanny realism only made possible by AI. She envisions “a whole new creative renaissance” for filmmakers and fewer financial barriers to new work. Most big movies today cost more than $100 million to make. Van der Velden thinks one done with AI would cost a fraction of that.
After securing $22.5 million in funding in 2024, AI-powered self-publishing platform Spines has deployed the funds to introduce author voice cloning for audiobooks, expand translation services to seven languages, and grow its author base to more than 6,000 users. The platform published more than 2,000 titles in 2024, up from 400 titles in 2023, and anticipates it will reach 8,000 titles by the end of this year.