Boy George has said that using AI to pen new music has changed his approach to songwriting. The 80s music icon made the revelation during a recent podcast appearance, disclosing that he had written 'like five albums already' with AI.
During a conversation on Fearne Cotton's Happy Place podcast, George shared his new approach, saying that the 'practice has really helped me as a lyricist.' Rather than viewing the technology as a replacement for traditional songwriting, he describes his process as a form of enhanced collaboration. George said 'I have fantastic conversations with ChatGPT' and 'And I'll say: "Oh, those lyrics are crap. That's not what I would say." You know what I mean? But, actually, you can train it.'
What appeals to George most is the solitary nature of AI-assisted creation. He noted 'You're not working with anyone else. You don't have to worry even for two seconds about what they think.' This represents a marked shift for an artist who spent decades collaborating with band members and producers in traditional studio settings. His willingness to pivot reveals how some established musicians view AI not as a threat but as a tool for creative autonomy.
The music industry is clearly at an inflection point regarding artificial intelligence. In June 2025, rapper and producer Timbaland announced that he signed AI music 'artist' TaTa to his new label, Stage Zero, designed to blend AI-based sounds with human ingenuity to create 'A-pop,' or AI pop. Meanwhile, Sir Tim Rice, who wrote the hit musicals Evita and Jesus Christ Superstar, said he would consider using AI to help write songs after testing it on a cricket speech that was 'really quite good,' noting 'Perhaps I should try it for one or two songs.'
The consensus among these established names contradicts fears in some quarters. Boy George's confidence about openly using ChatGPT alongside his North American tour dates suggests he views the technology as a practical tool rather than a shortcut. Yet this stance creates a genuine tension within the creative community. Paul McCartney, Kate Bush and Elton John are among the major British artists to have urged Keir Starmer to protect the work of creatives, and the Prime Minister told NME in 2025 that the government were working to 'get the balance right.'
The practical reality sits somewhere between celebration and caution. Sir Lucian Grainge, the British boss of Universal Music, raised concerns about AI-generated music, with some executives fearing artists' earnings will be undercut by AI-generated songs that steal their melodies and voices. This concern carries weight, particularly for emerging and mid-tier artists who lack the established fan base and catalogue that established figures like Boy George possess.
What makes Boy George's admission significant is not the technology itself but the candour. Rather than defending AI use through philosophical arguments about artistic evolution, he simply describes what works for him. Whether his five albums appear commercially is another question entirely. Whether we'll ever get to hear any of them is another matter entirely. The real story may ultimately be not about the tools available to musicians but about which artists choose to use them publicly and how audiences respond when they do.
For readers seeking to understand AI's role in music, Boy George's frank approach offers clarity. The technology isn't vanishing, established artists are testing it, and the conversation about creative control, artistic authenticity, and economic fairness has only just begun.