At the peak of the Kendrick Lamar–Drake conflict earlier this year, diss tracks and rebuttals were rapidly circulating on social media. Amidst this whirlwind, comedian Will Hatcher made a significant mark when renowned hip-hop producer Metro Boomin sampled Hatcher’s song “BBL Drizzy” for his diss track instrumental with the same title. Many aspiring artists eager to take shots at Drake laid their verses on this beat; Metro Boomin gained recognition for, as reported by Billboard, becoming “the first significant producer to utilize an AI-generated sample.”
Operating under the name King Willonius, Hatcher had initially dropped “BBL Drizzy” in April, inspired by a humorous post from Rick Ross on X regarding Drake’s supposed Brazilian butt lift. The track performed well on X as Ross’ barb trended, but the viral excitement eventually faded, prompting Hatcher to move on to another meme.
Weeks later, Metro Boomin incorporated the track into a beat and invited his online followers to rap over it, pledging a reward of $10,000 and a free beat for the best submission. This initiative propelled “BBL Drizzy” into widespread attention, landing Hatcher mentions in platforms such as Vulture and The Guardian, where he clarified that while the music and vocals were produced with AI, the lyrics originated solely from him. “There’s no way AI could craft lyrics like ‘I’m thicker than a Snicker and I got the best BBL in history,’” he stated in an interview with Billboard at that time.
Although AI may not replicate phrases like “thicker than a Snicker,” its ability to generate lyrics still lags behind the advancements and adaptability of audio creation technologies. Recently, Google unveiled MusicFX DJ, enabling almost anyone to produce new songs live through simple text prompts. Meanwhile, the developers behind the music generator Suno announced last Tuesday that acclaimed producer Timbaland, a “top user” of the tool, would be joining as a strategic advisor.
In a recent announcement, Timbaland shared the stems from his latest track “Love Again” on Suno, providing aspiring producers with a chance to win $100,000 for the best AI-assisted remix. The competition wraps up early next month. In a twist, a consortium of music labels filed a lawsuit against Suno, along with AI music-generator Udio, which Hatcher utilized for “BBL Drizzy,” earlier this year over copyright issues, claiming that these tools were trained using their artists’ work. The companies argue that employing copyrighted materials falls under fair use protections.
All of this frames “BBL Drizzy” as a significant touchstone in the AI music sphere. While some of his peers may have differing opinions, Hatcher proudly champions the use of AI tools. The triumph of “BBL Drizzy” and the widespread appeal of AI-generated content on his social media platforms indicate that the AI music industry is swiftly evolving, as a growing number of artists discover innovative ways to harness AI to create not just novelties, but genuine chart-topping productions.
Hatcher embarked on his journey with AI music just months before “BBL Drizzy,” yet he brings experience to the table. Residing in New York, the 40-year-old from Florida has been immersed in content creation for nearly 20 years. His first notable viral achievement was a 2007 parody of Soulja Boy titled “Crank That Homeless Man.”
“I surely logged my 10,000 hours crafting comedy music,” Hatcher reflects. He eventually transitioned from parody work to writing original songs, like the 2010 sultry electro-rap single “I Got It at Ross.” By 2020, he was performing as a club comedian and aiming for a career in television writing—two paths that encountered significant obstacles due to the Covid-19 pandemic and the writers’ strike.
When Hollywood writers struck in the spring of 2023 to protect themselves from the growing threat of AI, Hatcher aimed to stay ahead of the curve. He began exploring various generative AI tools that concerned his fellow writers. By diligently working with tools like ChatGPT, Sora, and Midjourney, he learned how to craft effective prompts through relentless practice, producing AI short films and movie trailers for fictional franchises. Eventually, he discovered Suno and Udio, which enabled him to create music by simply entering natural language prompts, much like the text and image tools he previously used.
Crafting song parodies and comedic music had always been his forte, but he quickly realized that these AI tools enhanced his capacity to produce timely, high-quality songs, often reflecting the latest trends on X or Instagram. As the Kendrick–Drake feud unfolded rapidly on social media, with an influx of memes and reactions swirling on the platforms, Hatcher was able to dive in with something more substantial than just another tweet.
“I like to create songs about whatever’s trending,” Hatcher shares. His well-honed comedic skills aided him in developing concepts, yet it was his newfound expertise with Udio and Midjourney that allowed him to produce “BBL Drizzy” in about five minutes after penning the lyrics.
The track features a compelling bassline, echoing the Wrecking Crew, underpinning a soulful vocal performance, resulting in a sound that nearly mirrors a classic Motown single. Interestingly, AI tools excel at generating music reminiscent of 1960s and ’70s soul and R&B—which just so happens to be the favored sample source for hip-hop producers.
Hatcher has discovered an audience that truly connects with his unique sound. Comments on a recent track titled “They’re Eating the Dogs,” which cleverly reinterprets a quote from Donald Trump regarding Haitian immigrants into a smooth, Marvin Gaye-inspired tune, affirm this connection. One listener remarked, “This tune feels as relevant now as it did back in the good ole days,” highlighting the track’s timely resonance.
Fans are genuinely enthusiastic about King Willonius’ music, appreciating it sincerely and without irony. These songs are far from mere AI-generated nonsense; they are thoughtfully crafted by Hatcher and exceptionally catchy, with contributions from AI. Although the tunes might seem light-hearted, they reflect the evolving landscape of human-AI creative collaboration.
This month in Williamsburg, Brooklyn, the Mondo.NYC music business conference hosted at least five panels that examined the role of generative AI in the music industry. Music tech consultant Cherie Hu, from Water & Music, shared her insights from the event: “We’re far past the early adopter phase. Everyone in the industry seems to be either contemplating it or developing consumer products in this realm. Many individuals are engaged in either creating or enjoying music produced with AI. The discussion felt more substantial as it’s no longer just theoretical.”
Despite the gravity of AI’s influence on consumer behavior, the music industry appears to be cautiously approaching the adoption of this technology. While film studios collaborate with AI companies, and various media companies strike agreements to utilize their works for AI training, the music industry seems hesitant, striving to balance tradition with innovation.
In June, the Recording Industry Association of America, representing the major label groups (Warner Music Group, Universal Music Group, and Sony Music Entertainment), filed a lawsuit against Suno and Udio for copyright infringement. At the same time, Universal announced a unique partnership with BandLab, creators of a mobile digital audio workstation (DAW). BandLab committed to adhering to the principles of the Human Artistry Campaign, a global initiative aimed at ensuring that rights holders have a say in how their work is utilized by AI technologies, while developing its toolset. Similar to the challenges Hollywood faces, record labels are eager to keep pace with the generative AI trend while protecting the rights and livelihoods of their artists.
Not all AI tools, like Google’s MusicFX or Suno and Udio, are designed to create music from scratch, as independent creators like Hatcher might do. There are also applications focused on extracting stems, mixing and mastering, and even brainstorming lyrics, which are gaining traction among both amateur and professional producers. Sam Hollander, a pop music hitmaker known for his collaborations with Panic! at the Disco and Flava Flav, likens the rise of AI in music to the emergence of drum machines in the 1980s, noting how session drummers had to adapt and learn programming to remain employed.
Hollander shares a typical scenario highlighting how AI integrates into his process and that of his colleagues. He recounts how a UK grime producer utilized Suno and Udio to create funk and soul samples; when the producer found a version he liked, he employed another AI tool to extract the stem for manual use in a track.
“There are going to be two paths,” Hollander foresees. “An entirely organic industry that resists it” versus “individuals who incorporate [AI] into their process.” Last week, a large number of musicians and creatives aligned with the resistive perspective, signing a letter asserting that AI training poses an “unjust threat to the livelihoods of those who create artworks.”
Hollander engages with AI tools for brainstorming and generating samples; however, akin to Hatcher, he always retains his original lyrics. “I don’t think AI does humor exceptionally well yet,” Hatcher notes—human input remains essential to ensure that AI-produced music doesn’t end up being totally boring and bad.
“[AI music] either has a shock factor, or [is] music as a background thing,” Hu observes. The shock-factor aspect of comedy contributes to the success of various AI projects, such as the viral SpongeBob rap from producer Glorb, and ObscurestVinyl, which features “lost” album tracks like the Ronettes-style “My Arms Are Just Fuckin’ Stuck Like This.” By incorporating original concepts and thoughtfully crafted lyrics, the AI creations manage to stay away from sounding generic, making them intriguing enough to potentially attract major producers in Hatcher’s case as samples based solely on their quality.
Conversely, there is the sphere of AI-generated ambient or chill music, which Hu notes is becoming increasingly popular. He references YouTube channels like Home Alone and what is ? as prime examples. With millions of views, these channels subtly utilize AI, indicating that what started as experimentation with these tools—just last year—has transitioned into the mainstream almost covertly, as the AI output becomes indistinguishable from human-generated samples and compositions.
It takes real creative skills to use AI tools effectively. Many younger creators who seek advice from Hatcher lack the work ethic or foundation in non-AI-assisted creativity that he possesses, which might hinder their ability to fully leverage these powerful tools. Nonetheless, they may not struggle for long.
“This is the worst that AI will ever be,” Hu states confidently. “It’s already pretty good, but it’s only going to improve.” She highlights advancements in audio quality and enhanced control, suggesting that creators will soon find it easier to achieve exactly what they envision without extensive practice in guiding the models.
As King Willonius, Hatcher has recently launched an album of AI-assisted tracks, with plans to debut “BBL Drizzy”: The Musical at Art Basel in Miami this year. He’s eager to explore the far reaches of AI-powered music.
Hatcher believes the playful nature of AI tools is their strongest attribute, making them essential for budding artists. “They’re so fresh, but they shine brightest for those who simply want to experiment,” he remarks. “Let’s enjoy ourselves, discover new horizons, and see what’s possible.”
The pivotal moments in the Kendrick vs. Drake rivalry unfolded during a crucial period for AI technology—Suno was introduced in December 2023, with Udio following in early April 2024. This was also when the feud intensified with the release of Drake’s “Taylor Made Freestyle,” which sparked significant backlash due to its unauthorized use of AI-generated voices of Tupac Shakur and Snoop Dogg. That same month, Hatcher unveiled the track that Metro Boomin would later sample for “BBL Drizzy.” Nothing felt the same again.