New research suggests that Canadian musicians are growing increasingly frustrated with the technology industry, particularly with advances like generative artificial intelligence (AI), which they believe is undermining the value of artistic work and making it harder to find an audience and earn a living. A study conducted by the University of Alberta surveyed 263 working musicians in Canada about their experiences in the industry. According to Dr. Brian Fauteux, a professor of popular music and media studies at the university, musicians feel squeezed by declining opportunities in both the physical and digital realms. He notes that music distribution is now largely controlled by a small number of powerful companies, limiting the ability of artists to reach audiences independently. A major point of concern is the rise of AI tools like Suno, which can generate complete songs with minimal input. Of the 142 musicians surveyed who commented on generative AI, 87% viewed the technology negatively. Some see AI-generated music as not aligning with their understanding of art, while others are upset by the environmental impact of such technologies and the music industry’s lack of response to these concerns. Some musicians also feel personally and professionally offended by the existence of AI tools that create music, citing ongoing issues with the theft of copyrighted material. They are worried that AI could affect their earnings, as non-musicians are using these tools to flood streaming platforms with artificial songs, potentially drowning out authentic artists. Dr. Fauteux acknowledges that AI is mostly being used by non-musicians for entertainment, like creating humorous songs for social media. However, he believes it has already impacted the livelihoods of some musicians, particularly those who create background music and jingles for advertisements. He sees the resentment toward AI as part of a broader issue. Musicians have long felt the effects of the shift to streaming platforms about a decade ago, and many have not seen the benefits of this change. Combined with the disruption caused by the pandemic to live music and the influence of large tech companies, the rise of AI adds another layer of pressure on the industry. Fauteux points out that these issues are not new, but are part of a long history of exploitation by record labels and other industry players who have often failed to fairly compensate musicians. The study also explored musicians’ feelings toward platforms like Spotify and social media. Most described a complicated relationship with these services—needing them to reach audiences, but distrusting them due to low payment rates, the industry’s reliance on Spotify metrics, and the platform’s opaque algorithm. Musicians also expressed frustration over the limited number of venues available for live performances. Over the past decade, many local music venues have closed, making it harder for artists to find spaces to perform. Fauteux notes that the remaining venues are often booked far in advance, making it difficult for musicians to plan tours or promote new work. As a result, the industry feels increasingly monopolized, with musicians losing control over their careers and creative output.