Sony Music CEO Says AI Deals Coming in 2025 Amid Suno, Udio Talks

Sony Music CEO/chairman Rob Stringer spoke to investors on Friday (June 13) about his vision for how generative AI can be integrated into his business, stating that the company is “going to do deals for new music AI products this year with those that want to construct the future with us the right way.”

To date, Stringer says the major music company has “actively engaged with more than 800 companies on ethical product creation, content protection and detection, enhancing metadata and audio tuning and translation amongst many other shared strategies.” He went on to say that he believes “AI will be a powerful tool in creating exciting new music that will be innovative and futuristic. There is no doubt about this,” but later added: “So far, there is too little collaboration, with the exception of a handful of more ethically minded players.”

Stringer’s statements about the emerging tech, which he made at Sony Group’s 2025 Business Segment Presentation, arrived just a week after news broke that Sony — and its competitors Universal Music Group and Warner Music Group — were engaged in talks with generative AI music companies Suno and Udio about creating a music license for their models. Suno and Udio are currently using copyrighted material, including music from the three majors, to train their models without a license. This spurred the trio to file blockbuster lawsuits against Suno and Udio in June 2024, in which they alleged copyright infringement on an “almost unimaginable scale.”

In his remarks on Friday, Stringer likened the current AI revolution to “the shift from ownership to streaming” just over a decade ago. “We will share all revenues with our artists and songwriters, whether from training or related to outputs, so they are appropriately compensated from day one of this new frontier,” he said.

“I do think that what AI is based on, which is learning models and training models based on existing content, means that those people who have paved the way for this technology do have to be fairly treated in terms of how they get recompense for that usage in the training model,” Stringer continued. “We have been pretty clear on this since day one that there is absolutely no backwards view as to what this technology will do. There will be artists, probably there will be young people sitting in bedrooms today, who will end up making the music of tomorrow through AI. But if they use existing content to blend something into something magical, then those original creators have to be fairly compensated. And I think that’s where we are at the moment.”

There are challenges ahead to figure out proper remuneration for musical artists from generative AI, as Billboard recently described in an analysis of the Suno and Udio licensing talks. While the AI license could borrow the streaming licensing model by having AI firms obtain blanket licenses for a company’s full musical catalog in exchange for payment, it remains to be seen how the payments would be divided up from there. On streaming services, it’s simple to determine how often any given song is consumed and to route money to songs based on their popularity. But for generative AI, the calculation would be far more complicated. To date, Suno and Udio do not offer guidance as to which tracks were used in the making of an output, and experts are divided on whether or not the technology needed to figure that out is ready yet.

Also on Friday, Stringer expressed a desire to come to agreements with AI companies in a free market, stating: “With deals being carried out, it will be clear to governments that a functioning marketplace does exist, so there is no need for them to listen to the lobbying from the tech companies so heavily.”

Today, many AI companies don’t believe they need to license music or other copyrights at all, citing a “fair use” defense. But in his statements, Stringer was optimistic that this would change, citing the recent position of the U.S. Copyright Office, which said that “making commercial use of vast troves of copyrighted works, especially where this is accomplished through illegal access, goes beyond established fair use boundaries.” One day after publishing this position about the value of copyrights in the AI age, however, the Register of Copyrights, Shira Perlmutter, was fired by President Donald Trump. (Perlmutter sued soon after, calling Trump’s move “unlawful and ineffective.”)

“We are between us and the AI tech platforms trying to find common ground,” Stringer continued. “And that common ground is not going to take a minute. It’s going to take a moment, and then it’s going to take the trial and error process, and we are in that era right now.”