The symbiotic relationship between music and video games has evolved dramatically since the groundbreaking integration of electronica in the 1995 PlayStation title Wipeout. This pioneering move by Psygnosis and PlayStation transformed the futuristic racing simulation into a cultural touchstone for a generation, pairing high-speed, neon-drenched races with the pulsating beats of Leftfield, Orbital, and The Chemical Brothers. The soundtrack was not merely background noise; it was an integral part of the experience, earning critical acclaim and leading to dedicated soundtrack releases. This early success set a precedent, with subsequent Wipeout installments featuring artists like The Prodigy and Sasha, forever cementing the series’ association with the mid-90s British dance music scene. While not the first game to feature licensed music, Wipeout established a new benchmark for how curated audio could elevate interactive entertainment.
Twenty-five years on, this sophisticated synergy has blossomed into a full-fledged industry. Dedicated teams now populate game development studios, comprising audio directors, music supervisors, and A&R experts whose sole purpose is to meticulously select and integrate music into the gaming landscape. The application of this music is as varied as the games themselves, ranging from in-game radio stations and curated playlists in titles like Grand Theft Auto and Watch Dogs, to its strategic use in marketing materials such as launch trailers. The COVID-19 pandemic, which severely curtailed live music performances, has further accelerated this trend, pushing artists and their representatives to explore video games as a vital new frontier for fan engagement and discovery. However, navigating the often opaque world of music synchronization – the process of pairing music with visual media – presents its own set of challenges.
The Architects of Audio: Who Decides What We Hear?
The decision-making process for music selection within video games is multifaceted and often depends on the scale and resources of the development studio. Larger entities frequently maintain in-house teams of music supervisors and A&R professionals who collaborate closely with record labels to identify suitable tracks. Smaller studios or those seeking specialized expertise may engage external music consultancy firms, such as Feel For Music, to assist with music discovery and the complex process of licensing.
Ben Sumner, Director at Feel For Music, highlights the diverse nature of these music briefs. "Most people like music, but some are huge music fans from the off, and that often dictates at what point in the project we come in," he explains. "Larger games will have audio directors, brand directors, and game directors, all of whom will have strong ideas on the sound they want to achieve with the game. Sometimes we come in and we’re just fine-tuning what’s already there. Other times, people don’t know what they want at all." Sumner emphasizes the crucial role of objectivity in his work. "It’s about trying to bring in that objectivity to show how music appeals to certain audiences, how it fits with the game, and the cultural cachet that brings in with the whole branding."
Alex Hackford, Head of A&R at Sony Interactive Entertainment America, notes the significant impact of the gaming industry’s exponential growth on its ability to forge partnerships with the music world. "The ease of access of having front-end conversations with labels and publishers about what the value of video game involvement… that bar has lowered because people have seen the impact of it," Hackford states. "The ability for us to have more buy-in from partners in projects is getting a lot easier." He points to successful collaborations like the four original tracks for Spider-Man: Miles Morales, which were simultaneously released across digital platforms, within the game, and physically, accompanied by gameplay-driven music videos. Similar initiatives were undertaken for Death Stranding in partnership with RMCA, signaling a growing appetite for deeper musical integration.
Unearthing Sonic Gems: Strategies for Music Discovery
The desire for artists to have their music heard by a broad audience is universal, but the path to inclusion in a video game soundtrack is far from straightforward. Duncan Smith, Head of Music at Sony Interactive Entertainment Europe, stresses that there is no single formula. "Every game has different criteria, so it depends on what the game is trying to say and what kind of music it requires: is it gonna benefit from having a contemporary tracklist with big artists on there, or will it benefit looking at more obscure bands that can enhance the experience?"
With an overwhelming volume of music available, music supervisors actively seek out new talent. Having your music accessible on major streaming platforms like Spotify, iTunes, Deezer, Google Play, and YouTube significantly increases the chances of discovery. Stephen Root, Vice President of Development Creative Services at Codemasters, finds Spotify particularly useful for its intuitive interface. "When we were working on our soundtrack for Dirt 5 at the time, Spotify was an easy way to build a playlist and share it around with the key people in the company."
This widespread accessibility can lead to serendipitous placements. Jim Hodge, vocalist for the metal band Mastiff, recounts their unexpected inclusion in Cyberpunk 2077 by CD Projekt Red. "We honestly thought it was a wind-up until we started speaking to them properly," he recalls. "They wanted an unreleased track and we’d literally just been in the studio the month before to record. At the time, we were out of contract, which made it much easier to release the track." The experience of hearing their music in such a high-profile game remains a surreal and exciting prospect for the band.
While not a prerequisite, being signed to a major record label can offer advantages, as labels often have dedicated teams working on music placements. Root attends specialized listening sessions with record labels to scout emerging artists. "I spend most of my time working on who’s up and coming," he notes. "Figuring out which artists these labels are investing their time into and why they think are going to be really successful artists." However, the landscape is increasingly open to unsigned artists and independent labels.
"I always want to give people a shot," Root continues. "I’m really into up-and-coming new artists, so I say to people [labels and managers] throw all of the new stuff my way and let me wade through it." Sony’s Smith echoes this sentiment, emphasizing that artist popularity is not always the primary factor. "One of the reasons I love this job is that, most of the time, we’re looking for music that enhances the experience of the game or scene. Most of the time, it doesn’t matter how many hits, streams or views that artist has had. The priority is to find music that enhances that experience, makes it compelling, and connects with the player."
Even for PlayStation games, the door is not exclusively open to Sony Music artists. Tom Mackay, Sony’s President of Premium Content A&R, clarifies, "At the end of the day, good music is good music. Is there a predisposed goal to predominantly put Sony Music artists into our projects? Of course there is. But would I be shortsighted and at the same time potentially shackling the game or project by only considering Sony artists? Of course I would be. It’s a careful balance. If an amazing record came in that was perfect for the game and everybody loved it, we would never stand in the way of that."
Cultivating a Distinct Identity: The Power of Originality
In a crowded field, developing a unique musical identity is paramount. Joe Henson of the musical composition duo The Flight advises artists to find their authentic voice. "Don’t just try and do what other people do because they already do that," he states. "Don’t just try and do epic, orchestral music because everybody does that. If you have a unique instrument, use that instrument."
Smith concurs, believing that a distinctive sound is more likely to leave a lasting impression. "Develop your own sound and have a strong identity. Don’t chase the tail of whatever is popular in games or in music sync," he advises. "Stick to the fundamentals of developing your own identity, and then make the effort to try and get in touch with the likes of myself and Alex. Find out what we’re working on, try and develop a relationship, and if you make the effort it will cut through." This personalized approach can lead to future opportunities, as Smith explains, "If you have a strong identity, we could end up coming back a year or so later if there’s something that requires your style — whether that’s industrial, drum ‘n’ bass, folk or whatever else. Do what you do and do it with passion."
Mastering the Approach: Making the Right Connection
The ultimate goal for any artist is to have their music heard by the relevant decision-makers, but cutting through the digital noise and securing an email response can be a significant hurdle. A strategic approach is essential.
Many video games are meticulously branded to align with specific musical genres. For instance, the NBA 2K series often features rap and hip-hop, while Life is Strange leans towards indie and folk artists. Instead of a scattergun approach, artists should identify games and franchises that genuinely resonate with their sound and aesthetic. "You want there to be a seamless creative bond of connectivity between the artist and what they represent — what they sound like, what they look like and what they feel like, and how that fits with the game itself," explains Tom MacKay from Sony. "You spend an immense amount of time with the director or the game developer to understand their vision, and then you meticulously start working through bands from all over the world to try to find those that will fit."
This diligent research is often overlooked. "Most people don’t want to do that work," observes Sumner, suggesting that this presents an opportunity for proactive artists. Identifying key contacts in audio and music departments can be achieved by scrutinizing game credits, or by leveraging professional networking platforms like LinkedIn and general search engines to find music supervisors and audio directors. Information regarding music used in trailers or promotional videos can often be found in YouTube video descriptions.
For artists unsure of where to begin, enlisting professional help is a viable option. Stephen Root encourages artists to discuss their interest in video game placements with their management or agents. "I would say to anybody that’s an artist, either on the cusp of being either signed or that has just been signed, to explain to their management about their level of interest in gaming," he advises. "Ask them to find and approach companies to see where they can fit your music. I would definitely do that because I think it’s a really great thing to do."
If management or labels lack the necessary expertise, hiring a sync representative – a professional dedicated to identifying commercial opportunities and pitching music to relevant parties – is another recommended avenue, according to Duncan Smith. "It’s important to make the effort to find out what we’re working on, and I think that’s where third-party sync reps can help," he suggests. "Especially because it’s difficult to keep up to speed with what music supervisors are working on and develop that relationship. If you don’t have a label or a publisher with those types of relationships with music supervisors, find the right sync rep who can do that for you."
When making a formal pitch, personalization is key. Alex Hackford emphasizes the importance of tailoring pitches to the specific individual and their projects. "If you have a formal pitch, make sure you know who you’re pitching to and you’re referencing games that they’re working on, rather than referencing cross-platform products that aren’t gonna be as relevant to their work."
Duncan Smith of Sony Interactive Entertainment echoes this sentiment. "Trying to develop a relationship and make the effort will always cut through — especially compared to some of the emails that we get where people have 50 different supervisors on one email and just hit send, without making the effort to find out what we’re working on."
Feel For Music, a busy music consultancy, receives an estimated 200-250 emails daily from various music entities seeking game placements. Ben Sumner acknowledges the sheer volume, stating, "It might be hard for us to check out your music, but if you’re persistent, focused, and understand the places where your music might fit, that’s a great starting point." He adds, "Most people that get in touch with us, we’ll give them a chance. If someone drops me an email and it gets missed but sends me a follow-up, I’ll make sure it gets checked." This persistent yet focused approach was instrumental in securing Sufjan Stevens’ music for Life is Strange: The Amazing Adventures of Captain Spirit.
Technical Specifications and Strategic Timing
Beyond the creative and networking aspects, technical preparedness is crucial. Artists need to ensure their music is available in a variety of file formats. For trailer submissions, having access to isolated instrument tracks, known as "stems," as well as complete stereo files, is essential for editors who may need to rework the music. "Having your music in the right formats is really important," Sumner stresses. "Do you have the instrumental version and do you have the vocals? We’re always going to need stems. If I put something into a trailer I have to rework it."
Furthermore, artists can proactively adapt their music for game placement or advertising. Instead of a traditional verse-chorus structure, a version with a distinct intro, middle section, and outro can be more suitable for trailers.
The games industry can be notoriously challenging to penetrate, even for established composers. Joe Henson from The Flight notes the secrecy surrounding game development, often obscured by Non-Disclosure Agreements (NDAs). "With film and TV, you can find out what’s going into production — you can meet people and they’ll tell you what’s happening. In games, you sometimes won’t know what people are working on until you have that initial big meeting. We’ll finish working with Ubisoft and have no idea what they’re doing next. Work comes completely out of the blue, and because of all the NDAs, video games can sometimes be difficult to get into."
For annual franchises like FIFA and Call of Duty, artists can work backward from their release schedules. Alex Hackford explains, "Eight to ten months pre-release is when we’re working on music; when we’re in that pitching process and actively working on music for a game." This provides a window for artists to align their own music release plans with potential game placements, especially for unreleased tracks, which can be a significant draw for studios looking to feature debut music.
Navigating the Legalities and Maximizing Collaboration
Licensing music involves navigating complex rights ownership. Artists who have previously worked with labels must understand who holds the rights to their music. Ambiguities in ownership can derail potential placements, as Hackford experienced: "I’m dealing with a scenario now where there’s a track I really like but there’s a lot of questions around ownership, so I’m probably gonna have to drop it. That’s the last thing you want when you’ve already got as far as getting the song into someone’s hands."
Once a music placement is secured, artists and their representatives should explore opportunities to add further value to the project. This can involve collaborating with game developers on social media campaigns or integrating album artwork into game assets. Duncan Smith recalls how DJ Shadow’s manager proactively sought additional promotional avenues during the Driveclub collaboration, leading to the integration of the artist’s album artwork onto in-game cars. This proactive approach can foster deeper partnerships and unlock further opportunities.
Stephen Root highlights the impact of artists going the extra mile, citing the band Broken Witt Rebels, who created a music video using gameplay footage for Dirt 5. "They didn’t just come in; they went all in and even made a music video using gameplay footage. We loved that."
Budgetary considerations are paramount, especially when coordinating unreleased music with game launches. Careful planning allows for a diverse soundtrack, balancing debut tracks from emerging artists with established hits. Root outlines a tiered fee structure for Dirt 5, categorizing payments for up-and-coming, mid-level, and established artists.
Financial Realities and Long-Term Relationships
While music placements can offer significant exposure, they are not typically a route to immediate wealth. Historically, games like Grand Theft Auto offered royalties on featured tracks, a practice that proved highly lucrative for early contributors. However, the industry has largely shifted towards fixed-rate licensing agreements. Ben Sumner notes, "In the early days with GTA they used to offer a royalty on tracks, whereas now it’s a fixed-rate scenario, which is a big fundamental change." While some exceptions exist, particularly with certain European performance rights organizations and mobile games, royalty-based compensation is becoming increasingly rare.
Duncan Smith advises artists to maintain realistic expectations regarding financial compensation. "Try to have realistic expectations about a deal. Don’t get crazy imagining you’re gonna have a life-changing sum of money in your pockets." He emphasizes the long-term benefits of building positive working relationships. "If we have a positive experience working with the artist, label or the publisher, we’re more likely to come back to you. So you can build up repeat business and a long-term relationship, rather than just a one-off fee."
The Enduring Impact: Beyond the Soundtrack
The impact of a well-placed song in a video game can be transformative. John Feldmann, lead singer of Goldfinger, famously credited the Tony Hawk’s Pro Skater soundtrack with propelling their song "Superman" to become their biggest hit. For many artists, inclusion in such titles is a "badge of honour."
The debut of new music within video games has emerged as a powerful promotional tool, instantly exposing artists to millions of players. Alex Hackford highlights the substantial audience growth experienced by independent artist Lecrae following the release of two original tracks for Marvel’s Spider-Man: Miles Morales. "He [Lecrae] is an independent artist at this stage, so that jump in audience and reach from having access to a game like Spider-Man: Miles Morales is substantial."
The symbiotic relationship between the gaming and music industries continues to flourish, as evidenced by Hideo Kojima’s Death Stranding, which featured original music from prominent artists. The COVID-19 pandemic has further accelerated this integration, with major releases like GTA V Online‘s substantial DLC update and collaborations between global pop stars and gaming franchises like Pokémon.
"The gaming industry will play a larger and larger role in the overall way in which the music industry thinks, operates and strategizes every day going forward," predicts Tom MacKay. He attributes this to both the demonstrable market effectiveness and the inherent joy and excitement these collaborations bring to artists and fans alike. "What I can say with confidence is what has been achieved so far is a literal scratching of the surface. These gaming platforms are the new water cooler. They are the news meeting place, especially for millennials and for younger generations." As technology advances and player engagement deepens, the fusion of music and interactive entertainment promises to yield even more innovative and impactful experiences in the years to come.
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