The images and videos were hard to miss in the days leading up to November 5. There was Donald Trump with the chiseled musculature of Superman, hovering over a row of skyscrapers. Trump and Kamala Harris squaring off in bright-red uniforms (McDonald’s logo for Trump, hammer-and-sickle insignia for Harris). People had clearly used AI to create these—an effort to show support for their candidate or to troll their opponents. But the images didn’t stop after Trump won. The day after polls closed, the Statue of Liberty wept into her hands as a drizzle fell around her. Trump and Elon Musk, in space suits, stood on the surface of Mars; hours later, Trump appeared at the door of the White House, waving goodbye to Harris as she walked away, clutching a cardboard box filled with flags.

[Read: We haven’t seen the worst of fake news]

Every federal election since at least 2018 has been plagued with fears about potential disruptions from AI. Perhaps a computer-generated recording of Joe Biden would swing a key county, or doctored footage of a poll worker burning ballots would ignite riots. Those predictions never materialized, but many of them were also made before the arrival of ChatGPT, DALL-E, and the broader category of advanced, cheap, and easy-to-use generative-AI models—all of which seemed much more threatening than anything that had come before. Not even a year after ChatGPT was released in late 2022, generative-AI programs were used to target Trump, Emmanuel Macron, Biden, and other political leaders. In May 2023, an AI-generated image of smoke billowing out of the Pentagon caused a brief dip in the U.S. stock market. Weeks later, Ron DeSantis’s presidential primary campaign appeared to have used the technology to make an advertisement.

And so a trio of political scientists at Purdue University decided to get a head start on tracking how generative AI might influence the 2024 election cycle. In June 2023, Christina Walker, Daniel Schiff, and Kaylyn Jackson Schiff started to track political AI-generated images and videos in the United States. Their work is focused on two particular categories: deepfakes, referring to media made with AI, and “cheapfakes,” which are produced with more traditional editing software, such as Photoshop. Now, more than a week after polls closed, their database, along with the work of other researchers, paints a surprising picture of how AI appears to have actually influenced the election—one that is far more complicated than previous fears suggested.

The most visible generated media this election have not exactly planted convincing false narratives or otherwise deceived American citizens. Instead, AI-generated media have been used for transparent propaganda, satire, and emotional outpourings: Trump, wading in a lake, clutches a duck and a cat (“Protect our ducks and kittens in Ohio!”); Harris, enrobed in a coppery blue, struts before the Statue of Liberty and raises a matching torch. In August, Trump posted an AI-generated video of himself and Musk doing a synchronized TikTok dance; a follower responded with an AI image of the duo riding a dragon. The pictures were fake, sure, but they weren’t feigning otherwise. In their analysis of election-week AI imagery, the Purdue team found that such posts were far more frequently intended for satire or entertainment than false information per se. Trump and Musk have shared political AI illustrations that got hundreds of millions of views. Brendan Nyhan, a political scientist at Dartmouth who studies the effects of misinformation, told me that the AI images he saw “were obviously AI-generated, and they were not being treated as literal truth or evidence of something. They were treated as visual illustrations of some larger point.” And this usage isn’t new: In the Purdue team’s entire database of fabricated political imagery, which includes hundreds of entries, satire and entertainment were the two most common goals.

That doesn’t mean these images and videos are merely playful or innocuous. Outrageous and false propaganda, after all, has long been an effective way to spread political messaging and rile up supporters. Some of history’s most effective propaganda campaigns have been built on images that simply project the strength of one leader or nation. Generative AI offers a low-cost and easy tool to produce huge amounts of tailored images that accomplish just this, heightening existing emotions and channeling them to specific ends.

These sorts of AI-generated cartoons and agitprop could well have swayed undecided minds, driven turnout, galvanized “Stop the Steal” plotting, or driven harassment of election officials or racial minorities. An illustration of Trump in an orange jumpsuit emphasizes Trump’s criminal convictions and perceived unfitness for the office, while an image of Harris speaking to a sea of red flags, a giant hammer-and-sickle above the crowd, smears her as “woke” and a “Communist.” An edited image showing Harris dressed as Princess Leia kneeling before a voting machine and captioned “Help me, Dominion. You’re my only hope” (an altered version of a famous Star Wars line) stirs up conspiracy theories about election fraud. “Even though we’re noticing many deepfakes that seem silly, or just seem like simple political cartoons or memes, they might still have a big impact on what we think about politics,” Kaylyn Jackson Schiff told me. It’s easy to imagine someone’s thought process: That image of “Comrade Kamala” is AI-generated, sure, but she’s still a Communist. That video of people shredding ballots is animated, but they’re still shredding ballots. That’s a cartoon of Trump clutching a cat, but immigrants really are eating pets. Viewers, especially those already predisposed to find and believe extreme or inflammatory content, may be further radicalized and siloed. The especially photorealistic propaganda might even fool someone if reshared enough times, Walker told me.

[Read: I’m running out of ways to explain how bad this is]

There were, of course, also a number of fake images and videos that were intended to directly change people’s attitudes and behaviors. The FBI has identified several fake videos intended to cast doubt on election procedures, such as false footage of someone ripping up ballots in Pennsylvania. “Our foreign adversaries were clearly using AI” to push false stories, Lawrence Norden, the vice president of the Elections & Government Program at the Brennan Center for Justice, told me. He did not see any “super innovative use of AI,” but said the technology has augmented existing strategies, such as creating fake-news websites, stories, and social-media accounts, as well as helping plan and execute cyberattacks. But it will take months or years to fully parse the technology’s direct influence on 2024’s elections. Misinformation in local races is much harder to track, for example, because there is less of a spotlight on them. Deepfakes in encrypted group chats are also difficult to track, Norden said. Experts had also wondered whether the use of AI to create highly realistic, yet fake, videos showing voter fraud might have been deployed to discredit a Trump loss. This scenario has not yet been tested.

Although it appears that AI did not directly sway the results last week, the technology has eroded Americans’ overall ability to know or trust information and one another—not deceiving people into believing a particular thing so much as advancing a nationwide descent into believing nothing at all. A new analysis by the Institute for Strategic Dialogue of AI-generated media during the U.S. election cycle found that users on X, YouTube, and Reddit inaccurately assessed whether content was real roughly half the time, and more frequently thought authentic content was AI-generated than the other way around. With so much uncertainty, using AI to convince people of alternative facts seems like a waste of time—far more useful to exploit the technology to directly and forcefully send a motivated message, instead. Perhaps that’s why, of the election-week, AI-generated media the Purdue team analyzed, pro-Trump and anti-Kamala content was most common.

More than a week after Trump’s victory, the use of AI for satire, entertainment, and activism has not ceased. Musk, who will soon co-lead a new extragovernmental organization, routinely shares such content. The morning of November 6, Donald Trump Jr. put out a call for memes that was met with all manner of AI-generated images. Generative AI is changing the nature of evidence, yes, but also that of communication—providing a new, powerful medium through which to illustrate charged emotions and beliefs, broadcast them, and rally even more like-minded people. Instead of an all-caps thread, you can share a detailed and personalized visual effigy. These AI-generated images and videos are instantly legible and, by explicitly targeting emotions instead of information, obviate the need for falsification or critical thinking at all. No need to refute, or even consider, a differing view—just make an angry meme about it. No need to convince anyone of your adoration of J. D. Vance—just use AI to make him, literally, more attractive. Veracity is beside the point, which makes the technology perhaps the nation’s most salient mode of political expression. In a country where facts have gone from irrelevant to detestable, of course deepfakes—fake news made by deep-learning algorithms—don’t matter; to growing numbers of people, everything is fake but what they already know, or rather, feel.

Nick Cave, one of the most physically expressive figures in rock and roll, was looking at me with suspicion. His eyebrows climbed the considerable expanse of his forehead; his slender frame tensed defensively in his pin-striped suit. I think he thought I was trying to get him canceled.

What I was really trying to do was get him to talk about being a man. For much of his four-decade career fronting Nick Cave and the Bad Seeds, Cave has seemed a bit like a drag king, exaggerating aspects of the male id to amusing and terrifying effect. He performs in funereal formal wear, sings in a growl that evokes Elvis with rabies, and writes acclaimed songs and books brimming with lust, violence, and—in recent years, as he weathered the death of two sons—pained, fatherly gravitas. His venerated stature is more akin to a knighted icon’s than a punk rocker’s; he has been awarded a badge of honor by the Australian government and a fellowship in the United Kingdom’s Royal Society of Literature, and was even invited to King Charles’s coronation, in 2023.

So when I met the 67-year-old Cave at a Manhattan hotel in August, before the release of the Bad Seeds’ 18th studio album, Wild God, I suspected that I might not be alone in wanting to hear his thoughts about the state of masculinity. Meaning: Why are guys, according to various cultural and statistical indicators, becoming lonelier and more politically extreme? I cited some lyrics from his new album that seemed to be about the way men cope with feelings of insecurity and irrelevance, hoping he would elaborate.

Between the long pauses in Cave’s reply, I could hear the crinkling leather of the oversize chair he sat in. “It may be a need that men have—maybe they’re not feeling like they are valued,” he told me, before cutting himself off. “I don’t want to come on like Jordan Peterson or something,” he said, referring to the controversial, right-leaning psychology professor and podcaster who rails against the alleged emasculating effects of modern culture.

Cave seemed taken aback by the idea that he himself was an authority on the subject. “It feels weird to think that I might be tapping into, or somehow the voice of, what it means to be a man in this world,” he told me. “I’ve never really seen that.” In fact, he said, his songs—especially his recent ones—“are very feminine in their nature.”

“I’m criticized for it, actually,” he went on. Fans write to him and say, “ ‘What’s happened to your fucking music? Grow a pair of balls, you bastard!’ ”

When Cave was 12, growing up in a rural Australian village, his father sat him down and asked him what he had done for humanity. The young Cave was mystified by the question, but his father—an English teacher with novelist ambitions—clearly wanted to pass along a drive to seek greatness, preferably through literary means. Other dads read The Hardy Boys to their kids; Cave’s regaled him with Dostoyevsky, Titus Andronicus, and … Lolita.

Those works’ linguistic elegance and thematic savagery lodged deep in Cave, but music became the medium that spoke best to his emerging point of view—that of an outsider, a bad seed, alienated from ordinary society. When he was 13, a schoolmate’s parents accused him of attempted rape after he tried to pull down their daughter’s underwear; at the school he was transferred to, he became notorious for brawling with other boys. His father’s death in a car crash when Cave was 19, and his own heroin habit at the time, didn’t help his outlook. “I was just a nasty little guy,” he told Stephen Colbert recently. His thrashing, spit-flinging band the Birthday Party earned him comparisons to Iggy Pop, but it wasn’t until he formed the Bad Seeds, in the early ’80s, that his bleak artistic vision ripened.

[Read: Nick Cave is still looking for redemption]

Blending blues, industrial rock, and cabaret into thunderous musical narratives, the Bad Seeds’ songs felt like retellings of primal fables, often warning about the mortal dangers posed by intimacy, vulnerability, and pretty girls. On the 1984 track “From Her to Eternity,” piano chords stabbed like emergency sirens as Cave moaned, “This desire to possess her is a wound.” Its final stanza implied that Cave’s narrator had killed the object of his fascination—a typically grisly outcome in Cave’s early songs. His defining classic, 1988’s “The Mercy Seat,” strapped the listener into the position of a man on death row. It plumbed another of Cave’s central themes: annihilating shame, the feeling of being judged monstrous and fearing that judgment to be true.

As Cave aged and became a father—to four sons by three different women—his vantage widened. The Bad Seeds’ 1997 album, The Boatman’s Call, a collection of stark love songs inspired by his breakup with the singer PJ Harvey, brought him new fans by recasting him as a romantic tragedian. More and more, the libidinal bite of his work seemed satirical. He formed a garage-rock band, Grinderman, whose 2007 single “No Pussy Blues” was a send-up of the mindset of those now called incels, construing sexual frustration as cosmic injustice. (Cave spat, “I sent her every type of flower / I played a guitar by the hour / I patted her revolting little Chihuahua / But still she just didn’t want to.”) In his sensationally filthy 2009 novel, The Death of Bunny Munro, he set out to illustrate the radical feminist Valerie Solanas’s appraisal that “the male is completely egocentric, trapped inside himself, incapable of empathizing or identifying with others.” (The actor Matt Smith will soon play the novel’s protagonist, an inveterate pervert, in a TV adaptation.)

But the Cave of today feels far removed from the theatrical grossness of his past, owing to personal horrors. In 2015, his 15-year-old son Arthur fell off a cliff while reportedly on LSD; in 2022, another son, Jethro, died at 31 after struggles with mental health and addiction. “I’ve had, personally, enough violence,” Cave told me. The murder ballads he once wrote were “an indulgence of someone that has yet to experience the ramifications of what violence actually has upon a person—if I’m looking at the death of my children as violent acts, which they are to some degree.”

Nick Cave and his early band the Birthday Party at the Peppermint Lounge in New York, March 26, 1983 (Michael Macioce / Getty)

Music beckoned as a means of healing. The Bad Seeds’ 2019 album, Ghosteen, was a shivery, synth-driven tone poem in which Cave tried to commune with his lost son in the afterlife; by acclamation, it’s his masterpiece. Wild God marks another sonic and temperamental reset. Its music is a luminous fusion of gospel and piano pop: more U2 than the Stooges, more New Testament than Old. Compared with his earlier work, these albums have “a more fluid, more watery sort of feel,” he said. “Which—it’s dangerous territory here—but I guess you could see as a feminine trait.”

On a level deeper than sound, Cave explained, his recent music is “feminine” because of its viewpoint. His lyrics now account not just for his own feelings, but for those of his wife, Susie, the mother of Arthur and his twin brother, Earl. In the first song on Ghosteen, for example, a woman is sitting in a kitchen, listening to music on the radio, which is exactly what Susie was doing when she learned what had happened to Arthur.

“After my son died, I had no understanding of what was going on with me at all,” Cave said. “But I could see Susie. I could see this sort of drama playing out in front of me. Drama—that sounds disparaging, but I don’t mean that. It felt like I was trying to understand what was happening to a mother who had lost her child.” His own subjectivity became “hopelessly and beautifully entangled” with hers. On Ghosteen, “it was very difficult to have a clean understanding of whose voice I actually was in some of these songs.”

That merging of perspectives reflects more than just the shared experience of suffering. It is part of what Cave sees as a transformation of his worldview—from inward-looking to outward-looking, from misanthrope to humanist. Arthur’s death made him realize that he was part of a universal experience of loss, which in turn meant that he was part of the social whole. Whereas he was once motivated to make art to impress and shock the world, he now wanted to help people, to transmute gnawing guilt into something good. “I feel that, as his father, he was my responsibility and I looked away at the wrong time, that I wasn’t sufficiently vigilant,” he said in the 2022 interview collection Faith, Hope and Carnage. He added, speaking of his and Susie’s creative output, “There is not a song or a word or a stitch of thread that is not asking for forgiveness, that is not saying we are just so sorry.”

On the Red Hand Files, the epistolary blog that Cave started in 2018, he replies to questions from the public concerning all manner of subjects: how he feels about religion (he doesn’t identify as Christian, yet he attends church every week), what he thinks of cancel culture (against it, “mercy’s antithesis”), whether he likes raisins (they have a “grim, scrotal horribleness, but like all things in this world—you, me and every other little thing—they have their place”).

At least a quarter of the messages he receives from readers express one idea—“The world is shit,” as he put it. “That has a sort of range: from people that just see everything is corrupt from a political point of view, to people that just see no value in themselves, in human beings, or in the world.” Cave recognizes that outlook from his “nasty little guy” days—but he fears that nihilism has moved from the punk fringe to the mainstream. The misery in his inbox reflects a culture that is “anti-sacred, secular by nature, unmysterious, unnuanced,” he said. He thinks music and faith offer much-needed medicine, helping to re-enchant reality.

[From the October 2024 issue: Leonard Cohen’s prophetic battle against male egoism]

Cave has been heartened to see so many people evidently feeling the same way. Back when Jordan Peterson was first making his mark as a public figure, Cave devoured his lectures about the Bible, he told me. “They were seriously beautiful things. I heard reports about people in his classes; it was like being on acid or something like that. Just listening to this man speak about these sorts of things—it was so deeply complex. And putting the idea of religion back onto the table as a legitimate intellectual concern.”

But over time, he lost interest in Peterson as he watched him get swept up in the internet’s endless, polarized culture wars. Twitter in particular, he said, has “had a terrible, diminishing effect on some great minds.”

The artist’s job, as Cave has come to see it, is to work against this erosion of ambiguity and complication, using their creative powers to push beyond reductive binaries, whether they’re applied to politics, gender, or the soul. “I’m evangelical about the transcendent nature of music itself,” he said. “We can listen to some deeply flawed individuals create the most beautiful things imaginable. The distance from what they are as human beings to what they’re capable of producing can be extraordinary.” Music, he added, can “redeem the individual.”

This redemptive spirit hums throughout Wild God. One song tells of a ghostly boy sitting at the foot of the narrator’s bed, delivering a message: “We’ve all had too much sorrow / Now is the time for joy.” The album joins in that call with its surging, uplifting sound. The final track, “As the Waters Cover the Sea,” is a straightforward hymn, suitable to be sung from the pews of even the most traditional congregations.

But the album is not entirely a departure from Cave’s old work; he has not fully evolved from “living shit-post to Hallmark card,” as he once joked in a Red Hand Files entry. “Frogs” begins with a stark reference to the tale of Cain and Abel—“Ushering in the week, he knelt down / Crushed his brother’s head in with a bone”—and builds to Cave singing, in ecstatic tones, “Kill me!” His point is that “joy is not happiness—it’s not a simple emotion,” he told me. “Joy, in its way, is a form of suffering in itself. It’s rising out of an understanding of the base nature of our lives into an explosion of something beautiful, and then a kind of retreat.”

A few songs portray an old man—or, seemingly interchangeably, an “old god” or a “wild god”—on a hallucinatory journey around the globe, lifting the spirits of the downtrodden wherever he goes. At times, the man comes off like a deluded hero, or even a problematic one: “It was rape and pillage in the retirement village / But in his mind he was a man of great virtue and courage,” Cave sings on the album’s title track. In Cave’s view, though, this figure “is a deeply sympathetic character,” he told me, a person who feels “separated from the world” and is “looking for someone that will see him of some value.”

As with Ghosteen, the album mixes Susie’s perspective with Cave’s. One song, “Conversion,” was inspired by an experience, or maybe a vision, that she had—and that she asked her husband not to publicly disclose in detail. “There is some gentle tension between my wife, who’s an extremely private person, and my own role, which is someone that pretty much speaks about pretty much everything,” Cave said.

In the song, the old god shambles around a town whose inhabitants watch him “with looks on their faces worse than grief itself”—perhaps pity, perhaps judgment. Then he sees a girl with long, dark hair. They embrace—and erupt into a cleansing flame, curing the man of his pain. As Cave described this moment in the song to me, he flared his eyes and made an explosive noise with his mouth. In my mind, I could see the old god, and he looked just like Cave.

This article appears in the December 2024 print edition with the headline “Nick Cave Wants to Be Good.”