EMM4 was developed by Santiago-based creative agency DUGG, which describes the project as an artist built from the outset through artificial intelligence tools and human creative direction rather than as a conventional singer using AI during production. The debut took place on September 5 at VAULT94, where the project was presented through a synchronised stage performance.
The launch extends beyond a single track or digital avatar. DUGG has designed EMM4 as a broader entertainment identity spanning recorded music, social-media activity, audience interaction, live appearances and commercial collaborations. The agency says the aim is to test whether an AI-created persona can operate across the same channels normally used to develop and market a human performer.
Matías Cáceres, DUGG’s founder and the creator of EMM4, said the team wanted to go beyond generating songs or images with artificial intelligence. He said the central challenge was combining the technology with human sensitivity to build an artist from scratch, while still producing work capable of generating an emotional response from listeners and viewers.
That distinction is central to the project’s positioning. EMM4 is not presented as an autonomous system independently composing and performing material. Available descriptions of the project consistently identify human creative direction as part of its development, making it a hybrid production in which AI tools are used to construct the character, imagery and artistic identity.
The VAULT94 appearance was designed to give that digital identity a physical stage presence. The performance incorporated professional performers, dance, visual projections and synchronised music, allowing the character to be represented before an audience without implying that a human singer named EMM4 was physically performing.
“Pelis de Amor” serves as the project’s first music release and the starting point for its public rollout. DUGG has not disclosed detailed technical information about the artificial intelligence models used to create the artist, nor has it publicly provided a full breakdown of how much of the song’s composition, vocals, lyrics or production was generated by specific systems.
The project is also being developed as an open intellectual-property model rather than through the traditional sequence of discovering a performer, developing an audience and then seeking commercial partners. DUGG says agencies and other collaborators were able to participate during the design stage, making commercial and representational relationships part of the project before its first public appearance.
Influenciame, an influencer representation agency, has added EMM4 to its roster. Its founder, Matías Villagrán, has said the model allows a talent’s identity to be shaped as part of the creative process. We Make Noise Chile and GEN94, a platform linked to the music scene, are also participating in the project’s support network.
We Make Noise Chile has emphasised that its approach to artificial intelligence is intended to amplify creative work rather than replace human talent. GEN94 has framed the technology as a tool for experimentation and innovation within the music sector, where generative systems are increasingly being used for audio, imagery and promotional content.
Claims that EMM4 is Chile’s first AI-created artist originate with the project and its launch materials. The available coverage supports that she is being presented as the country’s first artist conceived as an integrated AI-based entertainment identity, though the label depends on how “AI-created artist” is defined and distinguished from earlier virtual performers or musicians who used generative tools.
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