Music legend Dave Stewart has issued a stark ultimatum to the creative world: monetize your voice through artificial intelligence now, or watch helplessly as technology plunders your talent for free.

The Eurythmics co-founder’s comments mark a pivotal moment in the global debate over intellectual property, shifting the narrative from resistance to radical adaptation.

The warning comes as the music industry undergoes a seismic shift, with major labels pivoting from litigation to partnership. For Kenyan creatives—who have long battled for fair royalties from bodies like the MCSK—Stewart’s message signals a harsh new reality: ownership is no longer just about protection, but participation.

The Algorithmic Reality

Stewart, whose career spans decades of industry disruption, described artificial intelligence as an “unstoppable force.” His argument is rooted in pragmatism rather than optimism.

“Everybody should be selling or licensing their voice and their skills to these companies,” Stewart asserted. “Otherwise they’re just going to take it anyway.”

The mechanics of this threat are already in play. Platforms like Udio and Suno utilize machine learning to analyze vast libraries of existing music. By identifying patterns in melody, harmony, and timbre, these systems can generate entirely new tracks based on simple user prompts.

For instance, a user could request a track mimicking the energetic pulse of Nairobi’s Gengetone or the guitar riffs of classic Benga. Without a licensing framework, the AI could produce a soundalike track without a single shilling flowing back to the originators of that style.

A Wake-Up Call for Nairobi

This development holds specific weight for Kenya’s creative economy. While global giants like Universal and Warner have recently partnered with AI platforms to ensure their artists opt-in and receive royalties, independent Kenyan artists lack that institutional shield.

The risk is a digital form of neo-colonialism, where African sounds are harvested by algorithms to fuel global content engines without compensation. Stewart’s advice suggests that local artists must proactively seek ways to register and license their digital likenesses.

Key implications for the industry include:

• The End of Gatekeepers: Stewart forecasts a “disintegration of giant corporations controlling their artists,” suggesting a future where power decentralizes.
• New Revenue Streams: Instead of selling albums, artists may soon sell the right for fans to create music using their voice.
• The Opt-In Model: Major labels are pushing for systems where artists must consent to AI use, a standard that needs to be adopted globally.

The Disintegration of Control

Stewart’s forecast extends beyond just royalties; he predicts a fundamental restructuring of how music is made and sold. Having navigated the transition from vinyl to CDs, and then to piracy and streaming, he views AI as the next great leveler.

To back his stance, Stewart launched Rare Entity, a venture designed to navigate this new landscape. His move underscores a critical lesson for Kenyan stakeholders: the technology is not waiting for legislation to catch up.

“There’s going to be a disintegration of giant corporations controlling their artists,” Stewart noted, envisioning a chaotic but potentially liberating future for those who adapt quickly.

As the lines between creator and consumer blur, the question for Kenyan musicians is no longer how to stop the wave, but how to build a boat that stays afloat.