Paul Kelly Reflects on Songwriting and the Rise of AI at Brisbanes BIGSOUND

Paul Kelly, the Australian singer‑songwriter who has released more than 30 studio albums and earned 14 ARIA Awards, spoke on stage at Brisbane’s BIGSOUND festival on Tuesday about the craft of songwriting and the new wave of artificial‑intelligence tools. In an interview with Rolling Stone AU/NZ after the performance, Kelly said, “I don’t really know how to write a song. It’s not like a craft… it’s not like that with songs.” The comments illustrate how a veteran artist views the changing landscape of music creation.

Kelly’s approach to songwriting has always been unconventional. He explained to ABC’s Sarah Kanowski that most of his songs begin with “singing sounds.” He tries to match vowel sounds first, then later fits words that may not perfectly align. “Often I end up going with words that haven’t quite matched those vowel sounds, and it always feels like a little bit of a failure or a step down,” he said. The method shows that for Kelly, melody and vocal texture can precede lyricism.

The artist has witnessed every major shift in the industry. He recalled the move from vinyl to CD, the launch of the internet, and the rise of streaming services. “I’m better now with music and songwriting when I first started writing songs… it’s a lot easier nowadays for young songwriters and bands, wanting just to be able to hear a wide range of music from across all genres and times and eras, and also to be able to make records cheaply,” Kelly noted. He added that early studio sessions cost about $1,000 a day, a figure that has dropped significantly in recent years.

When asked about AI, Kelly expressed caution. “I don’t think there’s anything like this that I can compare it to… I think we need some caution. I think it can be dangerous,” he said. He added that the impact of AI on songwriting is still uncertain, describing it as a new phenomenon that “we don’t know whether it’s gonna be good or bad.” The comment reflects the broader debate among musicians about the role of machine‑generated music.

Live performance remains a core value for Kelly. He said, “It’s made me appreciate playing live, you know? I sort of think about it more when we’re playing shows. I think, ‘You can’t AI this, playing music with people.’ It’s not just you playing to these people, these people are connecting to the people around them.” The artist emphasizes that the communal experience of a concert cannot be replicated by an algorithm.

Kelly also highlighted the practical benefits that technology has brought to independent creators. “There’s a whole sort of ecosystem going on there that AI can’t touch,” he said. He noted that modern tools allow musicians to connect with like‑minded people in their community or discover new audiences online, a process that was more difficult in the past.

In addition to his comments, the deluxe version of Kelly’s album Seventy was released earlier this month. The expanded edition includes additional tracks and behind‑the‑scenes material that offers further insight into the artist’s creative process.

The interview and performance underscore how a seasoned songwriter is navigating the intersection of tradition and technology. While Kelly remains skeptical about AI’s role in composition, he acknowledges the ease with which new artists can produce and distribute music today. The conversation at BIGSOUND serves as a snapshot of an industry in transition, where legacy artists and emerging creators must both adapt to and evaluate the tools that shape modern music.