In the field of AI-generated music, it’s striking how, in recent weeks, more and more songs have appeared on YouTube that can be classified as clearly conservative and right-wing—even far-right. They follow simple generation patterns and come across as a kind of catchy “political pop.” The lyrics are unambiguous in their bias; here are a few examples of song titles: “The Lying Chancellor of Ukraine,” “Those Who Haven’t Learned Anything Join the Greens,” “Retirement at 70.” Officially, the songwriters usually deny that they belong to the AfD or publish far-right lyrics. They claim their songs are nothing more than critical commentary on the current government, which they say fails to showcase Germany sufficiently. But it could hardly be clearer when one of the song lyrics refers to the court jester Friedrich, stating: “Queen Alice (Weidel) clears the way for us.” If you take a closer look at such lyrics, you can always discern a shift toward the far right. Almost everywhere, the chancellor is disparaged—in some lyrics, even his predecessor Scholz is suddenly portrayed as having been the far better chancellor.

But let’s take a closer look at one song in particular as an example: “Der Kanzler Crash. Satire Song 2026.” Even the presentation is borderline. In it, some ugly birds dance to a catchy pop tune. The bizarre creatures in the video were clearly created using artificial intelligence; they were then set to music using Suno or similar programs. The video presentation alone comes across as deliberate political agitation when those in power are depicted as such ugly birds. The lyrics, however, contain no substantive debate that invites discussion. Instead, they consist of a string of simplistic, catchphrase-like statements. For example, there are lines like the chancellor flitting around in a chat room while the people suffer from a lack of money. In the AfD’s characteristic rhetoric, the other parties are defamed as “old parties.” And there is schadenfreude over the AfD’s gains among the electorate. Just one more quote to conclude: “Up there, Chancellor Merz is flying around in his fancy jet; he thought governing would be a total breeze for him. People are furious; no one is applauding him, and he can’t catch a break in the polls.” But is it really Merz’s personal pleasure to fly around in a jet and neglect politics in the process?

It seems, then, that a new right-wing cultural scene is emerging in Germany—one centered on music—that could well become relevant in light of the upcoming elections in Germany. After all, it’s child’s play to have AI write such simplistic lyrics and then market them as a new form of political satire—whose humor, however, tends toward zero. For malice and resentment elicit, at best, a few approving slaps on the thigh. Such musical productions contribute nothing to political discourse. They merely mask the authors’ lack of artistic talent. In the past, you needed a band and a studio for such a production. Today, all it takes is a prompt and a laptop to convey the desired musical experience.