Yeah, I want the Paul's Boutique of AI music, but I'm not interested in wading through the AI equivalent of a hundred thousand acoustic guitar covers of Wonderwall

This demonstrates where a lot of the mismatch in impressions of this tech arise. The thousandth amateur Wonderwall rendition is not at all interesting as a piece of recorded music, but for the performer (and those listening around them) it can be a fun and playful experience. The same could be said for AI generated music: it could be a fun and playful experience in the present moment, even if the resulting product is totally worthless to the market. This would still be a valuable thing for the human experience.

Arguably this is a return to a more traditional way of experiencing music from before the invention of recorded music. Before this, music was an entirely transient and often communal experience. Once the musician stops playing, the music is over. Songs from these times have largely unknown authors, and likely don't even have any single author or for that to even be a coherent concept. They were simply part of the shared culture that many had contributed to. Now music is owned by specific people and you can play back their performance as much as you like (for an increasingly insignificant price).

This tech may be a negative thing for the market of recorded music, but it needs to be argued that recorded music is the only authentic way to experience music, and that this is why that's how most people experience music currently, rather than that being an historical anomaly due to the technology available. Once you step away from treating music like it's only valid when it's a product for a market, the problems of AI music seem a lot less catastrophic.