ARTIFICIAL Intelligence (AI) is quietly becoming part of everyday music culture. From rearranging old hits to generating demo vocals and instrumentals in minutes, AI is reshaping how songs are made, shared and discovered online.
As the trend grows, so do the questions: Is this ethical? Is this a threat? Will artists eventually work faster with AI? What can be done about it?
Songwriter Lolito Go is a perennial critical voice on social media whose commentaries span politics, music and pop culture. Beyond his online presence, Go’s credentials in the local music scene make his perspective particularly relevant.
You might have heard it while scrolling on Facebook, Instagram or TikTok – classic OPM (Original Pilipino Music) songs suddenly sounding brand new. There’s a hint of synth-pop, a low-fidelity groove, touches of rock and even metal or a Gen Z–friendly R&B vibe that feels fresh yet familiar. Surprisingly, many of these reimagined tracks aren’t produced in traditional studios. They were created with the help of AI.
That is no longer surprising. A musical to premiere this year was launched late in 2025 and it was announced the team had to choose from over a hundred songs composed through AI.
With a body of work that bridges mainstream recognition and grassroots songwriting, Lolito offers a grounded view of how technology intersects with creativity today.
He wrote the ukulele music for Moira de la Torre’s “Titibo-tibo,” the grand winner of Himig Handog 2017. The music was composed by his wife, Libertine Amistoso.
In 2019, Lolito wrote another song for De la Torre, “Pahinga,” included in the artist’s “Paalam” album. In 2020, Go became a finalist in PhilPop (Philippine Popular Music Festival) 2020 and his composition, “Balikan,” was interpreted by Benj Manalo.
Lolito penned the 28th anniversary theme of “Maalaala Mo Kaya (MMK),” a drama anthology that also featured his and his wife’s love story in the June 2018 episode titled “Ukelele.”
In 2024, Lolito’s wedding song was performed by Almira Lat and was released on streaming platforms.
In 2025, Lolito also wrote political jingles for senatorial aspirants Gringo Honasan and Imee Marcos. Back in 2022, Go wrote with Torre one of the campaign songs of former Vice President Leni Robredo.
Drawing from Lolito’s journey in Himig Handog and PhilPop, what impact does he think the emergence of AI will have on the future of national songwriting competitions?
For Lolito, the rise of AI in music is not something to fear.
“AI is not a threat to music,” Lolito emphasized. “Every time there is a new technology, we are always threatened, anxious or nervous. But eventually, that becomes part of the process.”
Lolito recalled history has shown this pattern before. “When synthesizers first appeared, some musicians worried they would replace live instruments,” he offered. “When digital recording arrived, others feared the loss of analog warmth.
“Even streaming once sparked anxiety about the future of albums and radio. Yet music did not disappear. It evolved. Artists adapted, audiences adjusted and new creative possibilities emerged. I believe that’s what will happen to AI. It’s just a tool. It still depends on the people how to use it.”
Still, the conversation inevitably turned to craft. Is songwriting easier now because of AI? And if the technology had existed earlier, would he have used it to write the songs he is known for today?
“The process now is perhaps faster,” Lolito maintained. “But the message of the song, AI cannot do it in shortcut even if it has the tool that works faster. People should need to feel the song and what the writer wants to convey.”
As for using AI on his past works, Lolito’s answer is measured.
“I might have used AI for demo or guide,” Lolito admitted. “But the final song, I want it to come from the actual songwriter with his real experience.”
Interestingly, Lolito believes AI’s growing presence could even spark what he calls an “offline renaissance.” As machine-generated music, art and video become more common, audiences may begin craving something AI cannot truly replicate: raw, human connection.
“While AI content is growing, the live experience becomes more viable,” Lolito explained. “The actual voice, the real music, despite a few misses, you still can feel it. It’s really different when you are actually there hearing the music.”
In this scenario, concerts, intimate gigs and spontaneous performances could gain renewed importance. Rather than replacing artists, AI might actually push listeners to seek more authentic, in-person moments – a shift that could ultimately benefit musicians.
Lolito is also careful about how he personally uses the technology of late.
“There is also a limit.” Lolito said. “I only use AI for demos, to pitch ideas. But once the song is approved, it should get recorded by real musicians, singers, arranged and produced properly. It cannot be AI until the end.”
That balance, Lolito believed, is essential to preserving artistry while embracing innovation.
As the conversation ended, Lolito left a final thought – simple, direct and difficult to dispute.
“AI should enhance artists, not replace them,” he said.
AI in music, then, is neither purely good nor purely bad. Like every technology before it, its impact depends on how people choose to use it. What remains clear is that music itself is not going anywhere.
If anything, AI is entering a new chapter – one where rules and artistry co-exist and where the most human moments may matter more than ever.
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