Jorja Smith’s record label, FAMM, has publicly raised alarm over a viral track it claims used a cloned version of her voice without permission. The song, titled ‘I Run’, released by UK dance act Haven, (the project of producer Harrison Walker), soared to popularity on TikTok in October 2025. However, as it gained traction, listeners observed the similarities between the track’s uncredited female vocals and Smith’s distinctive sound, prompting speculation that AI-generated vocals had been used. FAMM acknowledged the similarities in an instagram post on November 18.
While Haven.’s team has admitted to using AI software (specifically the tool Suno) to transform the original male vocal into a feminine tone, they maintain the voice belonged originally to Walker, not Smith.
In response to the controversy, several major streaming services pulled “I Run” from their platforms after receiving takedown notices alleging impersonation and copyright violation. FAMM is now seeking to claim royalties and compensation. The label says that if it proves AI was used to generate or influence the song, any earnings should be distributed among Smith and her co-writers, pro-rata according to their contributions across her catalogue.
In making this public stand, FAMM aims to initiate broader conversations about how AI is used in the music industry, calling for clear labelling of AI-generated content and safeguards to protect artists.
The case highlights growing ethical and legal challenges as AI becomes more capable of mimicking real artists’ voices. If allowed to stand unchecked, AI-generated tracks could undermine intellectual property rights and devalue human artistry.
It also raises questions about transparency: artists and labels argue that listeners deserve to know when a track features AI-generated or AI-modified vocals.
The dispute may set a precedent for future legal action, possibly influencing how streaming platforms, labels, and creators approach AI-assisted music production. For listeners: this controversy serves as a reminder to approach “new-found” tracks with caution, especially if an unknown artist suddenly resembles a familiar voice.
