The rise of AI is causing a major shakeup in the music industry. Recent studies predict that musicians could see their earnings drop by over 20% within just three years. This alarming figure highlights the growing impact of AI on creative fields.
A global economic study commissioned by CISAC sheds light on the challenges ahead. The report calls for immediate legal action to safeguard the livelihoods of creators. Without intervention, the financial stability of millions of artists may be at risk.
With five million members represented, CISAC’s findings are a wake-up call for the industry. As AI continues to evolve, protecting the rights and income of musicians has become an urgent priority.
“Rock Is Dead in America—It Really Is”
The claim that “rock is dead” isn’t new. Gene Simmons famously championed the argument over the last decade, and former Megadeth bassist David Ellefson has echoed this sentiment. In a recent discussion, Ellefson even referenced Simmons while sharing his own perspective.
Ellefson firmly stated, “Rock is dead in America — it really is,” acknowledging the backlash such comments often draw. He supported Simmons’ view, arguing that unless a band is already well-established, breaking into the rock scene today is a losing battle.
According to Ellefson, younger generations are drawn more to social media and technology than to forming rock bands. He lamented that being a rock star is no longer seen as exciting or aspirational, as it once was for past generations.
Rock’s Shifting Legacy
Gene Simmons’ “rock is dead” argument often focuses on the absence of younger bands reaching the iconic status of legends like The Beatles. His point centers on music that transcends its era, resonating deeply across generations and becoming timeless.
Ellefson takes a different approach to the argument. Rather than dwelling on the lack of cultural icons, he highlights how rock’s relevance has shifted in the U.S. compared to its enduring popularity overseas.
For Ellefson, the phrase “rock is dead” reflects the genre’s diminished significance in American culture. Meanwhile, international audiences continue to embrace and celebrate rock music in ways that seem lost domestically.
Rock Thrives Beyond U.S. Borders
Ellefson emphasized that rock’s energy remains vibrant in regions like South America, Latin America, Asia, and Australia. According to him, these areas continue to celebrate both classic and contemporary rock, embracing the genre far more enthusiastically than audiences in America.
He pointed to his work with Napalm Records as an example, noting the rise of fresh acts like Jinjer alongside contributions from legacy artists, including himself and K.K. Downing. These regions not only support established names but also welcome new talent with open arms.
Ellefson highlighted global Spotify statistics to back his claim. Outside the U.S., rock music’s numbers are notably stronger, reflecting a cultural difference in how the genre is appreciated and sustained.
Rock’s Global Audience
The bassist acknowledged that while he still performs in America, the enthusiasm for rock music feels much stronger overseas. In many countries, the audience’s appreciation for live music drives more significant opportunities to perform and tour consistently.
He explained that regions like Eastern Europe often offer unique chances to connect with fans in smaller, less-traveled areas. Using projects like “Bass Warrior,” Ellefson has been able to explore these places, bringing his music to eager listeners in ways larger bands often cannot.
Ellefson also contrasted the cultural differences in concert-going experiences. While North Americans drive long distances to attend shows, international fans often face greater challenges, making their dedication even more meaningful to him.