S

Suno

Text-to-song AI music generation platform

Partnerships and Customer Success Manager

ContractUpdated
$100 - $115/hr
Mid
New York, NY, USA
HybridWeekly office visits are required at the NYC office.
Customer Experience & SupportCustomer Success

About the job

Requirements
  • At least 4 years of experience in customer success, partner operations, technical account management, or program management, ideally supporting partners at an early-stage company.
  • Experience owning post-sale relationships end to end, including onboarding, adoption, and renewal conversations.
  • Technical fluency sufficient to be credible with a technical audience, including comfort with API concepts and documentation and the ability to understand issues well enough to escalate them clearly.
  • Strong project management and organizational skills, with the ability to manage many partners, deadlines, and open threads simultaneously.
  • Ability to create lightweight processes and materials where none exist and improve existing ones.
  • Availability to start immediately.
Responsibilities
  • Design and run onboarding for beta partners, from account and access setup through kickoff, enablement, and billing, while creating repeatable processes.
  • Serve as the primary day-to-day contact for partners, field questions, coordinate with Engineering and Support on issues, and drive issues to resolution.
  • Manage program logistics and tracking, improving the partner tracker so partner status, open issues, and next steps are clear to the team.
  • Build relationships with partners and drive adoption by monitoring usage and proactively re-engaging partners whose integrations have stalled.
  • Collect partner feedback through regular check-ins, identify patterns across the cohort, and translate them into actionable input for Product and Marketing.
  • Keep partners informed with regular updates on roadmap, milestones, and new capabilities.
  • Support the commercial motion by qualifying inbound interest, preparing for partner conversations, and keeping evaluation and contracting steps moving with Legal and Finance.
  • Cultivate partner advocacy with Product Marketing, including case studies and reference commitments.
Desired Qualifications
  • Experience with a beta, design partner, or early access program.
  • Background in creative tooling, media and entertainment, or developer platforms.

About the company

Suno creates AI-generated music from text prompts. It lets users describe a mood, genre, or idea and automatically produces fully produced songs with vocals, instrumentation, and arrangements, without requiring any musical training. The product works by turning user prompts into complete songs using generative AI models, offering a library of styles from pop and rock to ambient and cinematic. What sets Suno apart is its combination of engineering and songwriting culture, a fast-growing platform that supports many musical styles and a broad global user base, and its emphasis on making music creation accessible to non-musicians while delivering a complete song output rather than isolated elements. The company aims to reshape how songs are conceived, produced, and shared and to help more people create music by lowering technical barriers and enabling rapid, iterative experimentation.

Company Size

501-1,000

Company Stage

Series D

Total Funding

$775M

Headquarters

Cambridge, Massachusetts

Founded

2022

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Simplify's Take

What believers are saying

  • Mikey Shulman said October 1 Suno is far beyond two million subscribers.
  • Reuters reported June 3, 2026 funding above $400 million at $5.4 billion valuation.
  • Suno's v6 and Speech launches expand monetization beyond music into broader audio creation.

What critics are saying

  • Sony and UMG sued Suno again on September 25, 2026 over v6 training.
  • Class-action plaintiffs and over 1,800 artists attack Suno's training data practices.
  • A court loss could force model retraining, damages, or product shutdown within 2027.

What makes Suno unique

  • Suno v6, launched September 9, 2026, edits songs with natural language.
  • Speech beta, launched October 1, 2026, generates voice and music together.
  • Warner Music partnership gives Suno licensed models and differentiated catalog access.

Help us improve and share your feedback! Did you find this helpful?

Benefits

  • Health Insurance
  • Dental Insurance
  • Vision Insurance
  • 401(k) Retirement Plan
  • 401(k) Company Match
  • Generous Commuter Benefit
  • Unlimited Paid Time Off

Growth & Insights and Company News

6 month growth

0%

1 year growth

1%

2 year growth

20%
Interspace Music
Oct 27th, 2026
Rights claims now run on records: work lists, distributor data and registration.

Rights claims now run on records: work lists, distributor data and registration. Suits against AI developers and brands, and a levy in Liberia that pays out as welfare, all turn on one thing: whether a rightsholder can prove ownership work by work. October 27, 2026 The owners of 274 compositions have sued Anthropic, and the number matters more than the defendant. Current enforcement and collection both work at the level of the individual work, and a rightsholder who cannot list, prove and register works one by one is the party most likely to be left out. A claim is a list of compositions. The owners of 274 compositions associated with Elvis Presley have sued Anthropic, alleging its Claude chatbot was trained on copyrighted songs without permission. The complaint is framed around compositions, which are the publishing-side rights, not around a set of recordings. That sets the unit of proof: for each song named, the plaintiffs must show who owns it. For an independent writer or label, the same logic applies at small scale. A composition claim is only as strong as the paper behind each title: the writers, their shares, the publisher of record and the registration. A catalogue that holds this information in one place can join or start a claim. A catalogue where splits sit in email threads cannot. Discovery reaches the distribution layer. In the labels' case against Suno, Universal Music and Sony Music have a newly approved deposition subpoena for former Menlo Ventures employee C.C. Gong. In the same litigation landscape, Suno and Udio are pursuing DistroKid AI-detection data. A distributor's internal records are therefore being treated as evidence, not just as back-office logs. Suno also faces another lawsuit beyond the label case, so the number of proceedings in which these records could matter is growing. The practical consequence for artists and labels is about what a distributor holds on their behalf. Delivery logs, upload metadata, and any flags a distributor applies to a release can become part of a dispute you did not start. Three things follow: * Keep your own copy. Export delivery confirmations, release metadata and rights declarations for each release, so you are not dependent on a distributor's retention when a question arises. * Check what you declared. If a distributor's form asks whether a release uses AI, your answer is now a record that someone else may read. Make it accurate and consistent across releases. * Ask about data requests. Ask your distributor how it handles third-party requests for account or detection data, and whether it notifies clients. Brands are being pursued over social posts. Enforcement is also moving toward commercial users. Major music companies have sued retailers, hospitality businesses and a university athletics program over allegedly unlicensed music in social media and influencer content. The defendants are not platforms or AI developers. They are ordinary businesses that posted video with music attached. For rightsholders, this changes where licensing demand sits. A business posting promotional video is a commercial user, and an independent catalogue that offers a clear route to a synchronisation licence for social use can address that demand directly. Where a catalogue has no such route, a brand is left to guess, and the major companies' suits show what happens when brands guess wrong. If you license to brands or influencers, write the social media use into the agreement. Name the accounts, the platforms and the duration. A licence for a campaign film does not by default cover a post on a business's own feed. Liberia: a levy exists, but the money is not routed by song. Liberia shows what happens when the legal basis exists and the work-level records do not. The 2016 IP Act funds a levy on copying devices, but COSOL has paid it out as welfare, not per-song royalties. The same law gives performers half of airplay royalties, and a 70/20/10 split applies to the distribution. The mechanism is simple. A levy collected into a general pool and distributed as welfare pays people by membership or need. A royalty paid per song needs a registered work, a named performer and a usage report to attach to it. Money can be collected lawfully and still never reach the person whose song generated it, because nothing connects the pool to the work. An artist or label with Liberian airplay exposure should register works with COSOL now and make sure performer credits are recorded. A performer's half of airplay royalties cannot be claimed against a track the society cannot identify. A working checklist for the catalogue. These cases involve different courts, different defendants and different continents, but they ask rightsholders the same question: can you prove it, title by title? * Build a work register. One row per composition and per recording: writers, shares, publisher, performer credits, registration references. * Separate publishing from masters. The Elvis claim is brought by composition owners. Know who holds each side for every title, because a claim on one side does not automatically include the other. * Archive distributor records. Keep delivery and declaration records outside the distributor's systems. * Add a social use clause to any licence that touches brand or influencer content. * Register in every territory where statutory money is collected. Do this before a royalty is due, not after. The test for your own catalogue is one number: how many of your titles could you document completely in a single day? If the answer is fewer than your full list, the gap is the first thing to close, before any claim, licence or collection depends on it. Two three-year clocks and a $10 wire: A collection calendar for catalogue owners. XYNQ and cadenza founders turn impersonation fraud into startups. October 27, 2026

Interspace Music
Oct 24th, 2026
Spotify profits rise as Suno faces another lawsuit.

Spotify profits rise as Suno faces another lawsuit. Spotify reported substantial profit growth in its latest financial results, while AI music generator Suno faces another lawsuit. October 24, 2026 Spotify reported substantial profit growth in its latest financial results, extending a run of strong quarters. Separately, Suno faces another lawsuit as legal challenges involving music generated by artificial intelligence (AI) continue. Spotify's results showed further profit growth as the streaming platform expands its business. The new case adds to the legal pressure on Suno. AI music startups face a wider series of lawsuits involving copyright and licensing issues. LEGO approves fan-designed daft punk alive tour set. Position music appoints pete robinson nashville creative GM. October 24, 2026

Halla
Oct 22nd, 2026
Reservoir sues Suno & Anthropic in latest lawsuits over AI music: 'meant to replace the artists'

Reservoir sues Suno & Anthropic in latest lawsuits over AI music: 'meant to replace the artists' 1 day ago 52 The indie publisher says the AI labs stole songs by Madonna and Johnny Cash to train their models to spit out new ones. Reservoir is the latest music company to sue Suno and Anthropic, accusing the artificial intelligence labs in new lawsuits of infringing famous songs by Madonna, Johnny Cash and Joni Mitchell to train their models and "replace the artists." The indie publisher filed a pair of federal cases Wednesday (Oct. 21), alleging the two companies each effectively stole its copyrighted songs in order to create AI that could spit out new ones. Reservoir says each lab "built its entire business model based on copyright infringement at a scale never seen before." "Suno made illicit copies of millions of copyrighted musical works, including Reservoir's Works, and then - without any remuneration to the rights holders - created a platform where anyone capable of paying $10 per month can create complete songs based entirely on these illicit copies," Reservoir's attorney Richard Busch writes in the lawsuits, obtained and first reported Billboard. The case claims that the two companies stole "some of the most iconic lyrics and melodies in music history," including Joni Mitchell's "Big Yellow Taxi," Johnny Cash's "Ring of Fire," and Madonna's "Papa Don't Preach," as well as other tracks by Glenn Miller, Kings of Leon, and Evanescence. AI firms use millions of existing works to "train" models to create new ones - a process that's sparked a flood of lawsuits from authors, visual artists, movie studios and record labels. AI labs say they've transformed all those works into something new that's a form of legal fair use. Human authors disagree, and billions in potential damages and licenses turn on that unresolved legal battle. Suno, the leading AI music firm, has long faced such litigation from major music companies and more recently from smaller publishers like Round Hill Music and groups of individual musicians. Anthropic, the AI giant behind Claude, has faced numerous such lawsuits across industries, including ongoing cases from music firms. Warner Music Group reached a settlement to end its case against Suno last year, and the AI firm has since reached similar deals with BMG and Believe. Then earlier this year, the AI company launched a new model that it touted as a "partnership" with the music business. But Suno has failed to persuade Universal Music Group and Sony Music, which are continuing to sue in federal court and say that the new model is still illegal. In Wednesday's new case, Reservoir took a similar stance against Suno, sharply criticizing the company's recent "about-face" and "sudden willingness" to work with the music industry. "Suno's business model was admittedly and clearly: infringe now, make billions by being the first mover, and try to settle on the cheap later," Busch writes in that complaint. "Seeking forgiveness is clearly more profitable than permission, which they obviously could have done but consciously chose not to do." The platform was "never meant to be a tool for artists to create music," Reservoir writes, "but was instead always meant to replace the artists whose works were being unlawfully copied by directly reaching those artists' listeners with AI-generated substitutes which copy the originals." Reps for both Suno and Anthropic did not immediately return requests for comment on Thursday. Daily newsletters straight to your inbox * homepage * Billboard * Reservoir sues Suno & Anthropic in latest lawsuits over AI music: 'meant to replace the artists'

Capital Brief
Oct 22nd, 2026
Fisher & paykel flags cyber incident.

Fisher & paykel flags cyber incident. Fewer chores Spotify forecasts fourth-quarter growth spurt. 10:26pm on 22 October 2026 The news: Spotify expects operating income to rise to EUR820 million ($1.3 billion) in the fourth quarter, beating analyst expectations as it invests in AI-powered music discovery. The music streaming platform reported a 9% rise in premium subscribers in the third quarter, helping lift revenue 16% to EUR4.9 billion and operating income 15% to EUR672 million. Shares rose 4.4% in pre-market trading after Spotify forecast fourth-quarter operating income above the average analyst estimate of EUR813.4 million, according to LSEG data. Co-chief executive Gustav Söderström said Spotify should "thrive in the agentic age" as people spend less time on chores and more time on entertainment. The context: Investors are watching Spotify's profitability as it invests in AI-powered music discovery and competes with fully AI-generated music platforms such as Suno and Udio, Reuters reported. Spotify plans to let premium subscribers customise songs and has been signing deals with record labels to enable the feature. It has also expanded audiobooks into new markets and introduced ways for podcast creators to monetise their shows directly on the platform. What was said: "Nobody asks an agent to 'summarize a song' for them. The whole point of getting rid of those chores is to free up even more time for the things that you actually enjoy," Söderström said. Get Letter of Intent in your inbox.

DRULES AI, LLC
Oct 18th, 2026
Suno launches shareable workspaces for teams.

Suno launches shareable workspaces for teams. By DRULES AI Suno launched two major collaboration features on October 15, 2026: shareable workspaces for teams and shareable custom models with doubled inputs for Premier users. How do Suno shareable workspaces actually work? The new workspaces let Pro and Premier users create a dedicated library of songs and files that can be shared across a team for both view and edit access. Crucially, only people explicitly invited by the owner can access the workspace, keeping projects secure and contained. This directly addresses a long-standing pain point for groups using Suno for ongoing production. What are shareable custom models and who gets 2x inputs? Premier users can now create custom models and share them with collaborators to build on new ideas together. These models also support twice the previous input volume, enabling more detailed prompts and finer control over outputs. The split means Pro users get basic team library sharing while Premier unlocks the full collaborative modeling power. What this means for your next song. With easier team collaboration now built into Suno, creators should prepare projects for seamless handoff. Begin by using /tools/mix to blend up to three artists with precise sliders, then generate a fused style prompt that the whole team can iterate on inside a new workspace. This ensures consistency whether you are co-writing lyrics, refining structures, or testing variations together. Invite only essential collaborators after curating exactly which tracks belong in the shared library to avoid clutter. The doubled inputs on custom models reward detailed descriptions, so combine them with specific references from the voice and vibe tools for repeatable, evolving results across multiple sessions. Teams can now maintain version control inside the platform rather than exporting stems constantly. This workflow accelerates iteration on complex arrangements or concept albums where multiple creators contribute distinct elements. Independent artists working with producers or co-writers will find the invite-only model prevents unwanted leaks while still enabling real-time feedback loops that were previously fragmented across external drives and messaging apps. Why does this matter for weekly Suno users? Professional and serious hobbyist creators who rely on Suno multiple times per week can now treat it as a central hub for group projects instead of a solo tool. The timing aligns with growing adoption of AI music in professional settings where speed and consistency across contributors are essential. Users should audit their existing libraries before creating workspaces to ensure sensitive or unfinished experiments stay private. Bottom line: Suno's new workspaces and custom model sharing turn individual AI generation into true team production without leaving the platform.

INACTIVE