Olivia Rodrigo has ruled out any use of artificial intelligence in her music, telling The Hollywood Reporter she would never incorporate the technology into her creative process. «I would never use AI in any of my music,» she said. «Absolutely no. Hard line on that.»
The American singer and songwriter said the closest she had come to experimenting with generative tools was a passing conversation with her long-time producer Dan Nigro. «Once, me and Dan were like, ‘God, I wonder what ideas ChatGPT would have for an Olivia Rodrigo title.’ And they’re all fucking awful,» she said.
Her intervention lands at a moment of mounting legal and ethical conflict over how generative AI systems are built and what they produce. Last month, the AI music platform Suno admitted using audio obtained from YouTube to train its models, amid a wider battle over whether copyrighted material can be used to train generative technology.
Artists including Jason Isbell have filed a lawsuit against Suno, alleging that the platform generates music designed to evoke specific musicians’ identities and styles without their consent. The case is one of several testing how existing copyright frameworks apply to systems that can produce convincing imitations of human voices and compositions.
Not every prominent figure in music opposes the technology. Dr. Dre recently said he was embracing AI, comparing resistance to it with the initial scepticism that greeted drum machines and synthesisers. That argument — that today’s feared tool becomes tomorrow’s standard instrument — is central to the industry’s split over generative systems.
Rodrigo’s comments arrive during a busy period following the release of her third album, ‘You Seem Pretty Sad For A Girl So In Love’, in June. The record received four-and-a-half stars from NME, which described it as a «bittersweet, cinematic odyssey from a generational talent» and evidence of her growth as a songwriter, composer and performer.
She has also begun her Unraveled Tour, which includes an extended run of shows at London’s The O2 next spring. In August, she staged the inaugural Daisy Chain Fields in California, an all-women festival that raised millions for organisations supporting women and girls and featured performances from Chappell Roan, Doechii, Bikini Kill and Garbage.
A food vendor who worked at the event has since written an open letter to the singer, claiming they have suffered from unpaid fees and poor management. The complaint adds a note of friction to a period otherwise defined by commercial success and public advocacy.
For the wider music business, Rodrigo’s refusal reflects a broader anxiety: that generative tools trained on decades of recorded work could erode the value of human authorship, consent and credit. How courts and platforms resolve those questions will shape what artists are asked to accept as normal in the studio.