I think it shows the state of the art is such now that this is going to become a real challenging question from a legislative point of view, given how far ahead these technologies have gotten. And I think that musicians, artists, consumers are going to start to use these tools in a really prolific way, given how good they are now.View on YouTube
By late 2025, text‑to‑music systems like Suno and Udio have become widely used by both creators and consumers: Udio reports millions of users since its 2024 launch, its tracks have gone viral and even entered national charts (e.g., an Udio‑generated song reaching the German Top 50), and Suno‑based songs have driven major TikTok/streaming controversies and licensing deals with the three major labels. (cirrkus.com) AI‑generated artists and songs are also charting commercially (for example, an AI gospel artist topping Christian and Gospel digital charts and the viral, fully AI‑generated song “We Are Charlie Kirk” topping Spotify’s viral songs chart), indicating exactly the kind of prolific use by musicians and ordinary users Friedberg described. (nypost.com) On the legislative side, Tennessee enacted the ELVIS Act in 2024, explicitly framed as the first U.S. law to protect musicians from AI voice cloning and audio deepfakes, directly targeting generative music/voice tools. (en.wikipedia.org) In Congress, lawmakers introduced the No AI FRAUD Act to create a federal right over one’s voice and likeness against AI fakes—promoted by its sponsors and the RIAA as necessary to protect music artists from AI‑driven impersonation—and additional bills like the TRAIN Act seek transparency around unauthorized AI training on creators’ works. (salazar.house.gov) Abroad, the EU’s AI Act and national initiatives such as Denmark’s proposed law granting people rights over AI‑generated imitations of their body, face and voice, plus UK parliamentary committees explicitly focusing on AI’s use of copyrighted music (accompanied by a silent protest album by 1,000 artists), show legislators actively grappling with generative‑AI impacts on music and related rights. (en.wikipedia.org) Taken together, rapid mainstream adoption of generative music tools and the emergence of music‑focused or music‑driven AI laws and bills match Friedberg’s forecast that widespread use would force legislators to confront and debate regulation of generative music AI, so the prediction is essentially correct by late 2025.