LONDON (Reuters) -Elton John on Sunday accused the British government of “committing theft” by proposing that tech firms could train artificial intelligence models on the UK’s music and creative output without guaranteeing proper recompense.
Creative industries globally are grappling with the legal and ethical implications of AI models that can produce their own work after being trained on existing material.
Britain, which Prime Minister Keir Starmer wants to become an AI superpower, has proposed relaxing copyright laws to allow AI developers to train their models on any material to which they have lawful access. The proposal would require creators to proactively opt out to stop their work being used.
The biggest names in the industry, including John, Paul McCartney, Andrew Lloyd Webber, Ed Sheeran and others, have urged the government to change course, saying the proposal will make it even harder for young people to make a living in the creative industries.
“The danger is for young artists, they haven’t got the resources to keep checking or fight big tech,” John told the BBC. “It’s criminal and I feel incredibly betrayed.”
“A machine … doesn’t have a soul, doesn’t have a heart, it doesn’t have human feeling, it doesn’t have passion. Human beings, when they create something, are doing it … to bring pleasure to lots of people,” he said.
John has sold more than 300 million records over a six-decade career. A supporter of Starmer’s Labour Party, he said he had always sought to support young artists and would continue to fight against the changes.
The government says it is seeking a solution that will enable creative industries and AI companies to flourish.
It said on Sunday it was consulting on measures, would publish an assessment on the economic impact of any move, and will not sign off on anything unless it is “completely satisfied they work for creators”.
Britain has long outperformed in the creative industries, with thousands employed in sectors including theatre, film, advertising, publishing and music.
(Reporting by Kate Holton; editing by Barbara Lewis)
