Suno is AI music-making for the masses

A slip-of-the-tongue revealed the developer's target demographic

Mikey Shulman, the CEO of music generator Suno, has been sticking up for himself on social media after facing a backlash for this comment he made on the podcast 20VC:

It’s not really enjoyable to make music now. It takes a lot of time, it takes a lot of practice, you have to get really good at an instrument or really good at a piece of production software.

These words were widely criticized for being dismissive and reductive, especially from the head of a generative AI music company. Shulman has since defended his statement, clarifying that he did not mean to imply that nobody enjoys making music. Instead, his comment was directed at those who abandon the pursuit of music because of the effort required, and might never have engaged in creation without tools like Suno. He emphasized his own deep musical passions, sharing that he has played piano since the age of four, practices daily, and even keeps a piano in his office.

But here’s the thing: someone who lacks the commitment to developing musical skills is unlikely to find enduring satisfaction in creating AI-generated music either. Shulman prefaced his controversial remarks with a statement about Suno’s target audience:

If you want to impact the way a billion people experience music, you have to build something for a billion people.

This makes it clear that Suno is designed to appeal to the masses—those who may have a fleeting interest in generating music but lack the intent to become musicians. The platform’s appeal lies in its accessibility and convenience, catering to individuals who don’t necessarily enjoy the discipline or hard work required to master the craft.

Here’s my grain of thought

The backlash against Shulman’s comments feels like yet another instance of interview snippets being taken out of context to fuel outrage from the “AI is killing art” crowd. There’s no shortage of that discourse if you’re looking for it. But the more compelling question here isn’t whether AI-generated music undermines traditional musicianship—it’s about the kind of creators and consumers these tools are attracting.

What drives the “layman creators” that generative AI companies are targeting? The term “content creator” has been around for years, and debates about whether these individuals are “truly creators” have mostly faded. Instead, we should ask: What motivates them? Are they seeking to combat boredom, increase efficiency, or simply explore novelty? Perhaps most importantly, who are the consumers of their AI-generated work, and how will their tastes evolve as generative AI music becomes more ubiquitous?

These questions go beyond knee-jerk critiques of AI tools. They investigate the changing relationship between creators, audiences and technology. As platforms like Suno reshape the landscape of music creation, understanding their true impact requires us to consider not just what they make possible, but for whom they make it possible—and why.