Leading AI-music generator Suno, which was sued by three major labels in 2024 over its use of copyrighted music in its training data, is whittling down its list of potential enemies. After settling with one of those labels, Warner Music Group, last November, Suno announced a partnership and preemptive settlement Wednesday with the fourth-largest music company, BMG, which had yet to launch a lawsuit against it. The deal covers both sides of BMG’s business, recorded music and publishing, and feeds into what Suno is touting as new, superior models built in partnership with the music industry, due soon.
The deal settles any claims over Suno’s prior use of BMG’s music in training data. A press release from both companies suggests that artists and songwriters on BMG’s roster have to opt in to future uses, and will get paid when they do so. Artists on BMG’s label end include Jelly Roll, Jason Aldean, Lainey Wilson, and its publishing side includes Mick Jagger and Keith Richards, Bruno Mars, Diane Warren, and John Legend. The company also controls rights tied to Tina Turner, Paul Simon, and Mötley Crüe, among many others.
Warner’s deal with Suno appears to also require at least some degree of artist opt-in, and in general, convincing artists and managers may prove to be a challenge. Madonna‘s manager, Guy Oseary, recently told Tim Ferriss that his client (whose catalog is controlled by Warner) will never do it. “Madonna does not want her music trained on,” he said. “Don’t care what you want to pay her. She’s very clear: ‘I do not want my music to be trained on. I want my music to be its own thing.’ So take her off. It’s okay. You’ll still do fine. Take her off. You don’t have to have her music.
Celine Joshua, BMG’s executive vice president of global marketing and streaming, said in a press release that the future of AI in music “will be defined by whether artists and songwriters remain at the center of the opportunity and share in the value it creates. Choice is the guiding principle.”
“We believe the future of music will be more participatory, creating entirely new ways for artists and fans to connect,” Suno co-founder and CEO Mikey Shulman said in a statement. “Building that future responsibly means working directly with the people who make music and the companies that represent them.”
Universal settled with Suno rival Udio last October, but is plunging ahead with the Suno case, expanding the lawsuit and fighting to uncover the terms of Suno’s Warner deal. On another front, last month, a German court gave collection society GEMA a landmark win, finding Suno in breach of German and U.S. copyright law for training on from GEMA’s repertoire, and ordering the company to pay damages.
In addition to the settlements, Suno is making conciliatory efforts towards labels. Earlier this month, the company promised to provide a means to detect songs made with its tech, and announced a rollout of download caps aimed at slowing the flood of AI songs onto streaming services. It’s also placing emphasis on its Suno Studio offering, which allows musicians deep control over the service’s output.
Across Canada, country music is synonymous with gatherings. It lives in the dust of a summer rodeo, the sticky floor of a neighborhood dive bar and the reverberating rafters of an arena filled with thousands of voices singing back every word. While most of the music industry spent the last decade adapting to a digital-first reality, country music continues to derive its power from physical spaces.
Taylor Swift and Bad Bunny in a split image
Taylor Swift and Bad Bunny Dealt With Trump Quietly. It’s a Smart Move
Taylor Swift and Bad Bunny are both major superstars — and they’ve shared some parallels in their careers and discographies for several years. Now, they’re even using the same playbook to deal with taunts and baiting from Donald Trump and the White House’s social media teams.
Since Trump took office during his second term, he and his administration have been using social media as part of their communication strategy. The propaganda-like, rage-bait-style clips often lean into internet culture and use popular music to make light of Trump’s most egregious actions, like his immigration policy and war-hungry foreign policy.
Olivia Rodrigo, Katy Perry, Ariana Grande, and Noah Kahan are just some of the artists who have had their music used in these videos without their permission — and vehemently spoken out against these actions and against the president. In the past couple of weeks, the Trump administration seems to have wanted to provoke a response from two of the world’s biggest superstars: Bad Bunny and Swift.
On July 30, the official White House TikTok used “La Mudanza” for a particularly tone-deaf video about immigration that celebrated the number of deportations under Trump. A week later, a video with text that said, “mood because it’s August and Donald Trump is your president” set to Swift’s “August” was uploaded by Team Trump, the president’s official campaign account. The caption was an overt provocation: “I’m sure Taylor Swift is going to be super excited we used her song,” it read. Days later, another clip from the same account featured an edited version of Swift’s Red album cover with text that said, “Did you know that Taylor Swift wrote a whole album about the color of the Republican Party?”
Neither musician has released a public statement denouncing the use of their music in Trump’s videos. Instead, two of the world’s biggest superstars quietly removed their songs from videos posted by official accounts linked to the Trump administration. (It’s unclear if there is a TikTok feature that allows selective sound muting on videos or if the respective teams reached out to the social media accounts directly.) The tracks are still available for other TikTok accounts to use in their videos, making their silence a pointed — and smart — approach. Both Bad Bunny and Swift seem to recognize the president and his administration’s tactics for what they are: antagonizing moves that keep the Trump conversation centered on his social media presence, rather than his actual policies and the harm they commit. Why would they add their star power to the conversation and stoke the flames when that’s exactly what the White House appears to want?
Some people argue that celebrities should wield their platform to denounce Trump at any chance if they are truly not politically aligned with his MAGA politics. But because they hold so much influence, these superstars need to be strategic about how they use it.
Benito, in particular, has been incredibly outspoken about his politics. He stood on two of the world’s biggest stages and used them to voice pro-immigration messages, denounce Trump’s policies, and highlight Puerto Rico as it struggles with the effects of U.S. imperialism. “Before I say, ‘Thank God,’ I’m going to say, ‘ICE out,’” the Puerto Rican superstar said at the 2026 Grammys. “We’re not savage. We’re not animals. We’re not aliens. We are humans and we are Americans.” Last summer, Bad Bunny’s music video for “Nuevayol” used a voice that sounds a lot like the president’s to deliver a pro-immigrant message. “I made a mistake. I want to apologize to the immigrants in America. I mean the United States. I know America is the whole continent,” the voice bellows out of a Seventies radio toward the end of the video. “I want to say that this country is nothing without the immigrants.”
Fans were convinced that Benito would speak out against the official White House TikTok account when it used one of his most political songs. But commenting on the video would only blow up the discussion for a wider audience. When Rodrigo, Perry, Grande, and Kahan made public comments, spokespeople for the White House used the opportunity to spread hateful rhetoric. “We’ll say this one last time: what’s actually barbaric, inhumane, and heinous are the criminal illegal aliens who have injured and murdered innocent American citizens,” Abigail Jackson said in a statement to Rolling Stone after Grande spoke out. It’s the antithesis of what Benito said during his Grammys speech this year: “The only thing more powerful than hate is love.”
Swift, on the other hand, has dealt with Trump and the right-wing’s instigations for years, each one crazier than the last. The TikTok videos from the last week aren’t even the first time that the administration has used the singer’s music for social media videos. Last fall, both the official White House TikTok account and Team Trump used songs from Swift’s then-newly released The Life of a Showgirl in separate videos. One plucked the lyrics “pledge allegiance to your hands, your team, your vibes” from “The Fate of Ophelia” to celebrate Trump, Vice President JD Vance, and the first and second ladies. The others boasted about Trump by using “Father Figure” and honored Melania Trump’s Patriot of the Year award with “Opalite.” As of Aug. 10, the audio is not available under all of these specific videos.
The pop superstar has not spoken publicly about these instances. But she has made her disdain for Trump clear. Over the years, Swift has criticized Trump’s autocratic leadership. On X, she wrote “we will vote you out” and endorsed Joe Biden and Kamala Harris in the 2020 and 2024 elections, respectively. In 2019, Swift told Rolling Stone, “There’s literally nothing worse than white supremacy. It’s repulsive. There should be no place for it.”
Even though she’s shared her liberal viewpoints on issues like abortion, LGBTQ+ rights, and racial inequality, Swift has still faced ridiculous claims of being MAGA-aligned and folding in right-wing dog whistles to her music — and that’s without ever naming Trump. If Swift were to make a statement about her music being used by the Trump administration, the attention-seeking president would absolutely revel in it. Getting Swift and Bad Bunny to weigh in is exactly the type of headline grabber he would love to draw attention from his remarkably unpopular presidency.