African music weighs opportunities and risks from AI: 'Technology will never replace authenticity'

Last July, Nigerian singer and songwriter Fave found herself in a viral situation: an unauthorized track using an AI-generated choir was released, quickly becoming an online phenomenon. To navigate the situation, she recorded her own remix, incorporating the AI-assisted song and adding it to her catalog.

"In my view, that was [an act] of intelligence and high business acumen," Lagos-based entertainment lawyer Oyinkansola Fawehinmi commented a few months later. "Essentially, she reclaimed control of the 'AI version' and released it as her own official expression."

Many African music markets are considered particularly vulnerable to the risk of AI-generated music appropriating from real artists, due to weak legal frameworks for intellectual property protection.

Similar concerns exist for the broader deepfake market. On Monday, South Africa withdrew a draft national AI policy after it emerged, ironically, that it contained AI-generated citations.

AI was the focus of the Atlantic Music Expo held this month in Cape Verde, one of the few African countries with its own AI policy. Benito Lopes, the fair's director since 2024, said the discussions aimed to give performers "more knowledge to leverage [AI] in the best possible way without losing their human identity and creativity."

For Cape Verde's Culture Minister, Augusto Jorge de Albuquerque Veiga, who aims to make Cape Verde a "world cultural hub, especially in music," the priority is ensuring local artists receive financial support to make a living in today's world.

"You have to work with it, not be swallowed by it," Veiga told the Guardian. "I think AI will never cover what is authentic... AI is already the present, so we must discuss this and find ways to work with AI for the country, for culture, and for the future."

With the Ministry of Culture's budget at $6 million, accounting for less than 1% of the national budget, Veiga has advocated for allocations from Cape Verde's tourism tax for the sector and for creating diaspora bonds targeting the large diaspora communities in places like Boston and Lisbon.

The fair, held ahead of the Kriol Jazz Festival, has long sought to be a bridge between Africa, Europe, and the Americas, but also emphasized the role of live music and human interaction in an age of synthetic sound.

"I'm happy to be here... an artist without communication and connections is nothing," said veteran Guinea-Bissau singer Patche di Rima, who performed on the final day.

Most delegates stressed that AI tools for arranging, mastering, and data-driven marketing offer opportunities for independent artists on tight budgets to compete globally. Entrepreneurs in the field emphasized that AI is not a replacement for talent.

José Moura, co-founder of Sona, an AI startup helping artists use text prompts to polish songs, said the technology can empower artists in the Global South to expand their reach without losing the uniqueness of their music.

"Homogenization happens when the tool doesn't know where you come from," he said. "Unlike generic AI trained on global averages, Sona is built on local music curated by local artists, so when it amplifies your sound, it amplifies precisely what makes your identity. It's the opposite of erasure... artists decide what is preserved before AI touches anything."

Sambaiana, a seven-woman group from Brazil, had their first performance outside their home country at the fair. For the group — a rare phenomenon in the male-dominated samba genre — it was an opportunity to connect with a new but familiar world.

"We feel honored to represent Brazilian musical style," said lead singer Ju Moraes. "We recognize ourselves here, the energy, the people, the culture, and even the architecture are very similar to Bahia."

Rayra Mayara, a singer and player of the four-string cavaquinho, said technology cannot match the emotion of being on stage. "We are seven women and no technology can replace the feeling we bring when we play, sing, and tell about our daily lives," she said. "AI can complement the production process but is not a substitute for human beings."