Step aside from the dramas of GenAI music, and you’ll find companies in the music industry – from Spotify to labels – using other kinds of AI in their workflows. But it’s fair to say none quite as much as Greater Music Group.
The company launched this month with what it described as “a fully built AI native system designed to operate a music company end to end”.
That includes A&R, artist development, operations and catalogue growth, complete with “an AI army of scouts, marketers and operators” to get the work done.
There are some interesting people involved too. One of GMG’s co-CEOs is Paula Moore, an investor and entrepreneur whose career has taken in a VP A&R role at WMG; curation and sponsorship for SXSW and CMJ Music Marathon; and founding eight startups – finding exits for five of them.
The other co-CEO? That would be Randy Jackson, the musician, producer, label A&R executive and American Idol judge.
The pair have bootstrapped GMG so far, working with AI developer Sedale Turbovsky to build the three layers of their ‘AI music stack’ – one (called Rocksteady AI) to discover artists and trends; one to handle artist and label services; and one to grow and optimise catalogues.
Naturally, Music Ally was intrigued, so we asked Moore and Jackson about their plans. This was an email interview, so the answers are attributed to both executives.
What is the origin story of Greater Music Group? Was there an ‘aha’ moment in your use of AI that sparked this?
“We’ve been exploring the challenges and opportunities around AI for the past few years, and about 8 or 9 months ago, it became clear that the technology had reached a point where it could support the kind of system we had been envisioning. That was the moment where things shifted from concept to execution.
From there, we began building Greater Music Group as a modern, full-service music company, one that reflects over 30 years of industry experience. Our goal was to take everything we’ve learned and embed it directly into the foundation of the company.
The real breakthrough was realising we could build a system that operates continuously in support of artists and collaborators. Today, our infrastructure spans A&R, marketing, development, fan intelligence, and operations (all running 24/7) allowing us to be far more responsive and proactive than ever before.
That constant flow of activity also feeds directly into the system’s intelligence, with trend analysis and performance insights integrated throughout to help inform decisions in real time.”
Rocksteady sounds fascinating: how did that evolve from your [Moore’s] previous projects in this area?
“This is very much a full-circle story. What I originally built at WMG over 20 years ago came during the first major wave of technological change in the industry. After that platform’s success, I retained the IP with the intention of rebuilding it when the technology had advanced further.
Now, with today’s capabilities, we’ve been able to evolve that original concept into something significantly more powerful. Previously, we relied on a global network of A&R scouts using instinct, experience, and research.
Today, we’ve expanded that model by integrating AI-driven systems that are trained on those same instincts, signals, and indicators of potential success. The result is a hybrid approach that combines human expertise with advanced data capabilities, enhancing, rather than replacing, the role of A&R.”
What’s your sense of the wider music industry’s attitudes towards AI in the artist-scouting / A&R context?
“The industry has gradually become more open to data-driven approaches, particularly since the first major technology shift when research began playing a larger role in A&R. That said, the importance of human instinct has never gone away, and it shouldn’t.
What we’re seeing now is a greater emphasis on metrics and analytics, but those alone don’t always capture whether an artist is truly ready to build a sustainable career.
Our approach is designed to bridge that gap by combining data insights with experienced A&R judgment. While AI-driven scouting is still in its early stages, this integration is something I’ve been developing throughout my career. The results so far have been very strong and continue to validate the model.”
You’ve made it clear that this is about an end-to-end system rather than just individual tools. How important was that to your vision – but also, did that make it more challenging to build?
“Building a fully integrated system was absolutely central to our vision. While there are many individual tools available, they often operate in silos and require significant effort to coordinate effectively.
We wanted to create a unified system that could support artist and catalogue growth in a seamless, scalable way. By owning the IP and the infrastructure, we’re able to maintain control, adapt quickly, and avoid reliance on third-party solutions.
That level of integration allows us to operate more efficiently as a company and deliver a more cohesive experience for the artists and partners we work with.”
You’ve bootstrapped GMG so far: tell us about that strategy…
“Yes, and it was a very intentional decision. Bootstrapping allowed us to maintain full creative and strategic control while building the company we always wished existed when we were working as A&R executives within major labels.
It gave us the freedom to focus on building something functional and meaningful, rather than prioritising external expectations or timelines.
Ultimately, it allowed us to translate over 30 years of experience directly into the system without compromise, which we believe has been critical to the strength of what we’ve built.”
Is the plan here to use your system purely for GMG to sign artists, manage catalogue etc? Or is this also about licensing the tech to other companies?
“At this stage, our focus is on operating this as an exclusive, invite-only ecosystem. We already support a growing roster of artists, catalogues, collaborations, and independent labels within the platform.
Our priority is to continue expanding and strengthening that internal network.
Over time, we may explore opportunities to extend access to select partners, but in a very thoughtful and controlled way. For now, the emphasis is on building depth and performance within the system.”
Final question: what’s one misconception around AI technologies that you see in the wider music industry?
“One of the most common misconceptions is rooted in fear, particularly around how AI might impact creativity.
Our perspective is very different. We’re not focused on using AI to replace creative processes, but rather to solve operational challenges for artists, managers, and labels.
The goal is to create a system that improves efficiency, supports growth, and allows creative professionals to focus on what they do best.
When used thoughtfully, AI becomes less about disruption and more about enablement, providing a consistent, reliable foundation that helps the entire ecosystem function more effectively.”
