When technology produces a song that rises to the top of a national chart, the question of our time is not whether the tool is clever but whether its fruits are justly shared. If creative workers are displaced while others gather the earnings from their archived voices, then we have merely traded one form of economic injustice for another dressed up as innovation. Yet if these same tools are governed so that marginalized musicians gain new access, new audiences, and fair participation in the proceeds, they could widen the circle of opportunity. The moral measure is simple enough: does this new music economy love money more than people, or will we insist that it serve human dignity first.