How to Write Your Artist Bio and EPK with AI (Without It Sounding Like a Robot)
Use a general AI assistant to draft your bio and EPK, but the draft is step two. Step one is gathering the real facts: real release names, real numbers you can prove, people you’ve genuinely worked with. Feed those facts plus a sample or two of how you write, then cut every line the AI produces that could belong to any artist. The specific lines are yours. The generic ones go.
short bio: genre, city, key release, one line on your sound
one-sheet bio: what goes in the EPK proper
the convention for press, one-sheets, and EPK submissions
facts AI writes for you that survive the edit without verification
Key takeaways
- Treat AI as a drafting partner for your bio and EPK. You supply the real facts, AI shapes the words, and you cut anything that isn’t verifiably true or recognizably you.
- Start by writing down the actual specifics: release names, real numbers, genuine collaborations, where you’re from and why it matters to your sound. The AI can only work with what you give it.
- Feed the AI a sample of how you write or talk, even a couple of paragraphs, so it has your register to work from rather than defaulting to press-release voice.
- After you get the draft, read every sentence and ask: could this be any artist? Delete the ones that could. The surviving lines are your bio.
- Third person is the standard for press kits and one-sheets. Editors copy-paste directly from your EPK, and third person means they can use it without rewriting a word.
- Never publish a stream count, press quote, or placement that AI wrote without verifying it against something real. A fabricated stat in your bio is a credibility problem you hand yourself.
Gather the facts before you open the chat
The most common mistake with AI-assisted bios is opening a chat window and typing “write me an artist bio for [name].” What comes back is plausible, tidy, and completely interchangeable with any other artist. That’s not the AI’s fault. You gave it nothing to work with, so it filled in the gaps with the genre conventions it was trained on.
Do the boring step first. Write down the specifics before you touch the AI. The real release names and their approximate stream or play counts. The producers or collaborators you’ve genuinely worked with. Where you’re based and whether that place shapes your sound. Any press, placements, or features that really happened. The one sentence that comes closest to describing your sound, in your own words. That list is the raw material. With it, the AI can draft something shaped like you. Without it, you’re getting a template.
This is the same principle that runs through the whole AI for music marketing guide: human for the art, AI for the ops. Your story is the art. The AI is there to help you get it into a format a blog editor or playlist curator can use.
Give it your register, not just your facts
Facts alone get you partway there. The other ingredient is voice. If you just list the facts and ask for a bio, you’ll get them back wrapped in the AI’s default style: smooth, slightly formal, slightly marketing. The tell is phrases like “crafting sonic landscapes” or “pushing the boundaries of the genre.” Nobody talks like that at the studio.
The fix is simple. Paste in a short sample of something you wrote: a social caption, a few sentences from an old email, even a voice memo you transcribed. Two or three paragraphs is enough. Tell the AI: “Write the bio in a voice that matches this.” The result will be noticeably closer to how you sound. It still won’t be exactly you, which is why the editing step exists, but you’re starting from the right place.
start your one-sheet from your real facts with the free artist one-sheet generator
The edit is where it becomes yours
Get the draft and do one pass with a single question per sentence: could this belong to any artist? If yes, delete it. No hesitation. Those lines are padding. What you’re left with, the sentences that reference something specific only you would know, is the actual bio.
Here’s what that looks like in practice. The two versions below are for the same constructed artist, with the same facts, just run through the process differently.
| Unedited AI draft | After cutting the generic lines | |
|---|---|---|
| Opening line | Mara Voss is a genre-defying singer-songwriter who blends indie folk with electronic textures to create a sound that is both intimate and expansive. | Mara Voss makes quiet, layered songs from a converted garage in Winnipeg, where her debut EP accumulated 40,000 streams without a label or a publicist. |
| On her sound | Drawing from a wide range of influences, Mara crafts sonic landscapes that push the boundaries of the folk genre while staying true to her authentic roots. | Her production is sparse: one acoustic guitar, a single synth pad, her voice close to the mic. It sounds like 3am because most of it was recorded at 3am. |
| Career note | With a growing fanbase and an exciting trajectory, Mara is poised to make a significant impact on the independent music scene. | Her track “Slow Thaw” was featured in the CBC Music playlist Folk Roots in early 2026. She is currently working on a full-length with producer Daniel Cho. |
The unedited version has no sentence a different artist couldn’t use. The edited version has nothing that isn’t specific and checkable. That specificity is also what press and curators are skimming for: something they can pull a quote from or use as context for the music. “Genre-defying” gives them nothing. “40,000 streams, no label” does.
The one thing you cannot skip
AI will confidently write numbers, press quotes, and placements it invented. It doesn’t flag this. It sounds the same whether it’s drawing from something you gave it or filling a gap from thin air. So every stat and every quote in the finished bio needs to be something you can point to somewhere real.
Never publish a fact you didn't give it
Check every number, quote, and placement in the draft against something you can prove. A stream count, a press feature, a festival appearance the model made up: any of those in a bio or pitch is a credibility problem you handed yourself. An editor who checks and finds a fake quote doesn’t give you a second chance. Your whole edge as an independent artist is being the real one, and fabricated stats undercut that faster than anything else.
The practical check: after editing, read through with a highlighter mindset. Every number, every name, every claim gets mentally flagged. If you can’t verify it in thirty seconds, replace it with something you can or cut it. If the bio is thinner after that pass, the answer is not to put the invented fact back. It means you need more real facts. Go find them.
Short bio, one-sheet, long bio: what each one is for
Most artists only need three versions. Write them in order, because each longer one is built from the shorter.
The short bio runs 50 to 100 words. It covers genre, where you’re from, your most notable release or credit, and a sentence on your sound. This is what goes in a social profile, a submission form, or a short pitch email. Write it like someone has thirty seconds to decide whether to care, because they do.
The one-sheet bio is 150 to 250 words and is the core of your EPK. It lives on a simple webpage or a PDF alongside your press photos, key stats (streams, monthly listeners, follower count), your latest release with the cover art, and a contact email. Optionally: a handful of real press quotes, radio or sync placements, and a link to streaming profiles. Keep the whole document skimmable in two minutes. An editor or sync supervisor goes through a lot of these, and anything that buries the relevant information loses before the music does. For a deeper breakdown of what a one-sheet is and how to format it, see the artist one-sheet and EPK guide.
The long bio is 400 to 600 words, for outlets that want context: the full story of the project, influences, the arc of the work. Some blogs and radio shows will ask for this. Write it once; you’ll use it rarely and update it before each campaign.
Third person is the convention for all three. Editors and curators copy-paste from your EPK and publish in third person; if yours is in first, they have to rewrite it, and that friction costs you. Your website homepage is the one place first person makes sense if you want a warmer tone.
Editors copy-paste from your EPK. Third person makes their job easier, which makes it more likely they use what you sent.
What a blog editor or curator is skimming for
Understanding what they need from a bio changes what you put in it. A blog editor writing a feature wants something they can quote directly or use as scene-setting. A playlist curator skimming a pitch wants to know the genre, the mood, and whether the release is real and recent. A sync supervisor running through submissions wants to know who to contact and whether you own your masters.
None of them are moved by “boundary-pushing” or “powerful storytelling.” What works: a specific number that shows traction, a concrete image or comparison that makes the sound land without them pressing play, a real credit or placement that gives them something to check. The bio does not have to be long to do that. Two specific, true paragraphs beat four vague ones.
For pitching press directly, the bio is only one piece. The covering note, the timing, the angle you pitch: those carry at least as much weight as the EPK itself. The mechanics of that are in music PR without a publicist. Get the EPK solid first, then work the outreach.
A note on Vee
Vee, the assistant built into Velveteen, is not the tool for this task. Vee is built for your catalog: reading your releases, pitches, and earnings data inside the platform, drafting and updating release metadata, building pitches. It is good at those things because it’s looking at your real data rather than guessing.
For bio and EPK writing, reach for a general AI assistant (ChatGPT and similar) with the workflow described here: real facts, voice sample, draft, cut. For the structured one-sheet format, the free tool below does the layout work so you’re not formatting a PDF from scratch. Catalog and royalties questions go to Vee. Writing goes to a general assistant. The distinction matters because using the wrong one for the wrong task gets you worse results from both. For more on when to use which, see the sibling piece on using AI to read your royalties and streaming data.
build your one-sheet from your real facts with the free artist one-sheet generator
Frequently asked questions
Should an artist bio be written in first or third person?+
Third person is the convention for press, one-sheets, and EPK submissions. Editors, bloggers, and playlist curators copy-paste directly from your EPK, and third person makes their job easier. First person works for your website if you want it to feel more personal, and some artists do both: a short first-person version for the homepage, third person in the press kit. The safest move if you only write one is third person.
How long should an artist bio be?+
Three lengths, three uses. A short bio runs 50 to 100 words, covers the essentials (genre, where you’re from, standout releases, one line on your sound), and fits in a press email or a social profile. A one-sheet bio runs 150 to 250 words and is what goes in the EPK proper. A long bio runs 400 to 600 words for outlets that want depth. Write the short one first; the longer ones are built by adding layers to it.
Is it okay to use AI to write my artist bio?+
Yes, with one non-negotiable condition: every fact in the finished bio has to be real. AI will sound confident about things it invented. Stream counts, press placements, festival appearances it didn’t know you played, a quote from an editor who never wrote it. All of that has to be stripped or replaced with what’s true. The draft is fine. Trusting it blind is where it goes wrong.
What goes in an EPK?+
At minimum: your short bio, high-resolution press photos, your latest release (or the one you’re pitching), a few key streaming stats you can prove, links to your music and social profiles, and a contact email. More established artists add selected press quotes, radio or sync placements, and a playlist of key tracks. Keep it short enough that someone can scan it in two minutes. A PDF or a simple webpage both work; the format matters less than how easy it is to skim.
How do I stop my AI-written bio from sounding generic?+
Feed it specifics first. The specific release name, the specific number of streams, the specific producer or city or sound. Then when you get the draft, read every sentence and ask: could this be any artist? If yes, delete it or replace it with something only you would write. The generic lines are always the ones the AI added to fill space. The real lines are the ones you gave it.
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