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Winnipeg Musicians Raise Alarm Over AIs Growing Impact on Music Creation and Live Performance
On a sunny afternoon in Winnipeg, a chorus of local musicians took to the airwaves to voice a growing unease: artificial intelligence is reshaping—and, some fear, eroding—the foundations of the music industry.
Jacob Herd, a seasoned Winnipeg‑based musician, composer and educator, opened the conversation on the city’s radio station. He warned that AI “can have its place and its uses, but I think a lot of people are using it to undermine the very foundations of the creative process.” Herd’s concern echoes a federal AI strategy released in June 2026 and a statement from Minister of AI and Digital Innovation Evan Solomon, who said Canada will continue to engage with creators as the debate evolves.
With nearly a decade of experience performing alongside dozens of Winnipeg bands and writing close to a hundred songs, Herd sees the human touch slipping away. "There’s so much human touch and human element that goes into the actual music that you hear," he explained. He added that AI artists release music at a speed that dwarfs traditional musicians: “I just see so many AI artists that are just putting music out, getting paid and they’re releasing 60 songs a year.”
Echoing Herd’s worries, Joel Emerson, host of the local podcast PegCity Soundoff, said the rise of AI music is making it harder for bands to compete. Emerson noted that while his own groups write, record and play live shows to fund recordings, AI artists “are just putting music out, getting paid and they’re releasing 60 songs a year.” He also warned that the lack of live performance by AI artists threatens the “love of live music” that local musicians rely on.
A recent viral example of AI‑generated music is The Puerto Rico Song, released in April by Bill Stiteler, better known online as Saxboy Billy. Stiteler used the Suno AI platform to transform his lyrics into a track that has amassed millions of views on TikTok, illustrating how quickly AI‑produced music can reach audiences.
In response to the debate, Minister Solomon said the federal government is committed to listening to artists and stakeholders. He noted that the National Artificial Intelligence Strategy – “AI for All” – released on June 4, 2026, does not mention copyright protection for Canadian content creators. Solomon added, “There are currently matters before the courts related to these issues, and while we will not comment on ongoing litigation, we will continue to engage with creators and stakeholders as these discussions evolve.”
David Gerhard, head of computer science at the University of Manitoba, explained that detecting AI‑generated content is increasingly difficult because the output can sound indistinguishable from human work. He said regulators might need to rely on labeling rather than detection. "One possible regulatory approach is to require AI generated content to be labelled. This is something that the European Union has started doing and big models in the States are starting to comply," Gerhard said.
The debate comes at a time when live music has rebounded after COVID‑19 lockdowns. Herd observed that people will always long for the human element in what they’re watching, listening to and experiencing. "After the COVID‑19 lockdowns, you saw a real resurgence in live music because I think people will always long for the human element in what they’re watching, what they’re listening to and what they’re experiencing, because we’re all human," he said.
Musicians such as Herd and Emerson are calling for regulations that protect traditional music creation and live performance. The federal AI strategy, while outlining new legislation, investments and programs, has yet to address copyright concerns. Tech experts suggest that mandatory labeling of AI‑generated music could provide a workable solution. The industry remains divided, and the next steps will depend on how government, artists and technology developers negotiate the balance between innovation and creative protection.
Jacob Herd, a seasoned Winnipeg‑based musician, composer and educator, opened the conversation on the city’s radio station. He warned that AI “can have its place and its uses, but I think a lot of people are using it to undermine the very foundations of the creative process.” Herd’s concern echoes a federal AI strategy released in June 2026 and a statement from Minister of AI and Digital Innovation Evan Solomon, who said Canada will continue to engage with creators as the debate evolves.
With nearly a decade of experience performing alongside dozens of Winnipeg bands and writing close to a hundred songs, Herd sees the human touch slipping away. "There’s so much human touch and human element that goes into the actual music that you hear," he explained. He added that AI artists release music at a speed that dwarfs traditional musicians: “I just see so many AI artists that are just putting music out, getting paid and they’re releasing 60 songs a year.”
Echoing Herd’s worries, Joel Emerson, host of the local podcast PegCity Soundoff, said the rise of AI music is making it harder for bands to compete. Emerson noted that while his own groups write, record and play live shows to fund recordings, AI artists “are just putting music out, getting paid and they’re releasing 60 songs a year.” He also warned that the lack of live performance by AI artists threatens the “love of live music” that local musicians rely on.
A recent viral example of AI‑generated music is The Puerto Rico Song, released in April by Bill Stiteler, better known online as Saxboy Billy. Stiteler used the Suno AI platform to transform his lyrics into a track that has amassed millions of views on TikTok, illustrating how quickly AI‑produced music can reach audiences.
In response to the debate, Minister Solomon said the federal government is committed to listening to artists and stakeholders. He noted that the National Artificial Intelligence Strategy – “AI for All” – released on June 4, 2026, does not mention copyright protection for Canadian content creators. Solomon added, “There are currently matters before the courts related to these issues, and while we will not comment on ongoing litigation, we will continue to engage with creators and stakeholders as these discussions evolve.”
David Gerhard, head of computer science at the University of Manitoba, explained that detecting AI‑generated content is increasingly difficult because the output can sound indistinguishable from human work. He said regulators might need to rely on labeling rather than detection. "One possible regulatory approach is to require AI generated content to be labelled. This is something that the European Union has started doing and big models in the States are starting to comply," Gerhard said.
The debate comes at a time when live music has rebounded after COVID‑19 lockdowns. Herd observed that people will always long for the human element in what they’re watching, listening to and experiencing. "After the COVID‑19 lockdowns, you saw a real resurgence in live music because I think people will always long for the human element in what they’re watching, what they’re listening to and what they’re experiencing, because we’re all human," he said.
Musicians such as Herd and Emerson are calling for regulations that protect traditional music creation and live performance. The federal AI strategy, while outlining new legislation, investments and programs, has yet to address copyright concerns. Tech experts suggest that mandatory labeling of AI‑generated music could provide a workable solution. The industry remains divided, and the next steps will depend on how government, artists and technology developers negotiate the balance between innovation and creative protection.