Barb Caffrey's Blog

The other day, I heard a new song from Daughtry, the band fronted by former American Idol contestant Chris Daughtry. Daughtry is known mostly for their single “It’s Not Over.” That’s a hopeful song, in its way, about the ups and downs of relationships. But the new song, “Artificial,” definitely is not hopeful. In any way.

“Artificial” is about human beings being supplanted by robots, AIs, synthetics…the world has turned poisonous, and the scenery looks like an old Mad Max movie, which sets the scene for the dystopic lyrics. For example, the second verse includes the lyrics, “No sickness, no dying, no disease/no begging for mercy on your knees. No God, no religion, no beliefs.” This may seem somewhat innocuous, especially to secular humanists, but the choruses definitely aren’t. “Welcome to your worst nightmare. Days are getting dark, you should be scared. It doesn’t have a heart. Plug into the new you…the death of who we are is right here.” (I jumped a few lines down, thus the ellipsis.)

Because Daughtry himself is muscular and fit–especially for age 44–he plays himself being uploaded into the “perfect,” human-looking robot. Fortunately, or maybe unfortunately, it doesn’t exactly work out.

Now, why did I say fortunately, or maybe unfortunately? Well, in this dystopic nightmare of a world, that’s apparently the only way you’re going to survive. It’s a travesty; it’s not human, as the lyrics say. The whole bit about “no begging for mercy on your knees” is about compassion, and about how the robots–or whatever they are–don’t have any. They’re just beings, without true emotions; they think, but they don’t sleep. They can’t admit to fear, even if they feel it–then again, they don’t feel much of anything–and it’s obviously not the way a human being wants to live.

There is a second level to “Artificial,” though, that’s more relevant to me as a writer and editor. There’s a real problem right now, that’s grown significantly worse in the past five years, with AI programs grabbing hold of people’s work–whether music, art, writing, you name it–and not paying anything for this. If one, single AI was the creation of some guy in his basement who had no money at all, then maybe this wholesale “borrowing” (read: using without paying) would be understandable even if still wrong. However, the AI programs are being developed by some of the biggest and wealthiest companies in the world.

They don’t have an excuse. They should be paying writers, musicians, artists, etc., for the use of their works if they’re going to be used to try to bring about a better and more comprehensive version of AI (artificial intelligence).

So, the lyric “It doesn’t have a heart” in “Artificial” could, conceivably, be talking about Google. Or Microsoft. Or whomever else that’s trying to develop an AI. If they had hearts, working souls, and even an ounce of compassion, they’d not have taken so many different people’s work without paying for it.

They certainly don’t seem to have ethics, either. Or they’d be paying writers, musicians, etc., for their work. As they should.

So, getting back to “Artificial,” Daughtry seems to be saying that in the not-so-distant future, there will be copies of what he does. Purporting to be what he and his band have actually done. (Maybe he’s referring to deep-fakes, in an elliptical way.) But it’s “ice cold, mechanical. Artificial.”

A real musician, a real band, playing in real time (even if it’s recorded and played back in any medium), has a nuance and resonance that, so far anyway, synthetic programs can’t match. The sound, itself, may seem to be easily replicated, but it’s not.

You might be asking, “Barb, what are you talking about? The YouTube video will always play the same version of the song, with no variations.”

But in live performance, there will be variations. There have to be. Every time a piece of music is played, sung, or performed in any way, it’s going to be a little different in one way or another. That’s because it has life. Purpose. A sort of drive that infuses the music, makes it far more than simply numbers on a page represented as notes (and put to lyrics, in the case of Daughtry’s “Artificial”).

In short, music has soul. The best music, made by thoughtful musicians throughout our recorded history, has touched something in us, something profound. (Even something as silly as “Purple People-Eater,” with the lyrics of “one-eyed, one-horned flying purple people eater,” will make us laugh. Laughter, itself, can be profound in its way. So sayeth I, at any rate.)

Chris Daughtry and the rest of his band, Daughtry, are excellent musicians. They put together songs that tell stories. They have multiple levels in at least some of their songs (as seen with the recent song “Artificial”), which shows a remarkably fluent and in-depth understanding of what they’re trying to do. There’s life to their songs. And just a bit of edginess (which I appreciate), along with outstanding performance values, brings about the best of results.

So, “Artificial” is a departure for Daughtry due to being dystopic. But it’s a welcome one, especially under the circumstances. I hope they write a whole lot more songs about whatever they feel like, as there’s no way an AI could ever reproduce their passion, drive, wit, and ability.

Do not accept substitutes, people. (Further the writer sayeth not.)