The symbiotic relationship between video games and music has evolved dramatically since the groundbreaking integration of electronic dance music into the futuristic racing simulation Wipeout in 1995. For the PAL version of the PlayStation title, Psygnosis and Sony collaborated with leading UK electronica acts like Leftfield, Orbital, and The Chemical Brothers to craft a soundscape that perfectly complemented the game’s high-octane, neon-drenched aesthetic. This fusion wasn’t just a novelty; it was a critical success, earning widespread praise for its innovative soundtrack and becoming a defining characteristic of the Wipeout brand. The game’s influence was so profound that it led to separate soundtrack releases on CD and vinyl, and subsequent installments continued this tradition, featuring artists such as The Prodigy, Paul Van Dyk, and Sasha. Wipeout didn’t invent the concept of licensed music in games, but it undeniably set a new benchmark for how curated soundtracks could elevate a gaming experience and resonate with a generation of music enthusiasts.
Fast forward nearly three decades, and the strategic integration of music into video games has blossomed into a sophisticated industry in its own right. The role of audio directors, music supervisors, and A&R experts within game development studios is now standard practice. These professionals are tasked with the crucial responsibility of selecting and licensing music that not only aligns with a game’s narrative and atmosphere but also enhances player engagement. Music can manifest in various forms within games, from curated in-game radio stations, famously featured in titles like Grand Theft Auto and Watch Dogs, to meticulously edited tracks used in promotional materials such as launch trailers.
The COVID-19 pandemic has further amplified this trend, presenting significant challenges for the live music sector. With concert halls and festivals largely shuttered, artists, managers, and record labels are increasingly turning to the burgeoning video game industry as a vital platform for reaching new audiences and generating revenue. However, navigating the complex landscape of music synchronization – the process of integrating music with visual media – often occurs behind closed doors, making it a challenging arena for emerging and established artists alike to penetrate. To demystify this process, industry experts from both the gaming and music sectors offer insights and practical advice for artists seeking to have their music featured in video games.
The Architects of Sound: Who Decides What Music Fills Our Virtual Worlds?
Larger game development studios typically employ in-house teams of music supervisors and A&R specialists who collaborate with record labels to identify suitable musical talent. Alternatively, many studios engage external music consultancy firms, such as Feel for Music, to assist with music discovery and the intricate process of licensing tracks that meet specific project briefs. Ben Sumner, director at Feel for Music, highlights the diverse nature of these briefs, which are heavily influenced by the game’s genre, target audience, and the creative vision of the development team.
"The level of musical passion within a development team can significantly impact when we’re brought into a project," Sumner explains. "For major titles, you’ll find audio directors, brand directors, and game directors, all with a clear vision for the game’s sonic identity. Sometimes, our role is to refine existing ideas, while at other times, the team may have no pre-conceived notions about the music." Sumner emphasizes the importance of objectivity in his role, stating, "Music taste is inherently subjective. Our job is to bring an objective perspective, demonstrating how music can appeal to specific demographics, complement the gameplay, and contribute to the overall brand identity of the game."
Alex Hackford, Head of A&R at Sony Interactive Entertainment America, notes that the exponential growth of the video game industry has significantly eased the process of communicating the value of music-game collaborations to record labels, publishers, and artist managers. "The barrier to entry for initiating conversations with labels and publishers about the benefits of video game involvement has been considerably lowered," Hackford observes. "There’s a much greater understanding of the impact these partnerships can have, leading to increased buy-in from our industry partners. For instance, with Marvel’s Spider-Man: Miles Morales, we produced four original tracks that were released simultaneously across digital service providers, within the game, and physically. We also created accompanying music videos using gameplay footage. Similar successful collaborations have been forged with RMCA for Death Stranding. It’s safe to say we are all actively seeking to expand these types of initiatives."
Unearthing Hidden Gems: Strategies for Music Discovery in the Gaming Sphere
While the desire for widespread music exposure is universal, there is no singular blueprint for securing a place in a video game’s soundtrack. Duncan Smith, Head of Music at Sony Interactive Entertainment Europe, articulates this complexity: "Each game possesses unique criteria. The music must resonate with the game’s narrative and intended atmosphere. The question is whether the game benefits from a contemporary tracklist featuring established artists or if it would be enriched by the discovery of more obscure talents."
In a digital landscape flooded with an almost infinite catalog of music, music supervisors are constantly seeking new sounds. To enhance the likelihood of an artist’s music being discovered by the right individuals, several proactive steps can be taken.
1. Ubiquitous Digital Presence: Ensuring music is available across all major streaming platforms – Spotify, Apple Music, Deezer, Google Play, and YouTube – is paramount. This broad accessibility significantly increases the chances of discovery. Stephen Root, Vice President of Development Creative Services at Codemasters, frequently utilizes Spotify for its user-friendly interface. "When we were working on the soundtrack for Dirt 5, Spotify provided an effortless way to curate playlists and share them with key stakeholders within the company," he recounts.
2. The Element of Surprise: Wide accessibility can lead to serendipitous placements. Jim Hodge, vocalist for the metal band Mastiff, shared his astonishment at being approached by CD Projekt Red, resulting in their track "Acid Breather" being featured in Cyberpunk 2077. "We genuinely thought it was a prank until we engaged in proper conversation," Hodge admits. "They were seeking an unreleased track, and we had literally just finished recording it the month prior. At the time, we were out of contract, which facilitated the release. Having our music on one of the biggest games ever released is surreal, and hearing it in the game still gives us chills."
3. The Advantage of Label Support: Being signed to a major record label can provide a significant advantage, as label representatives actively work to place their artists’ music. Stephen Root attends specialized listening sessions hosted by record labels, where he gains early access to unreleased music and insights into artists’ future plans. "I dedicate a substantial portion of my time to identifying emerging talent," Root states. "I aim to understand which artists labels are investing in and why they believe they will achieve significant success."
However, the absence of a major label affiliation does not preclude artists from securing placements. Opportunities abound for unsigned artists and those on independent labels. "I’m always open to giving new artists a chance," Root continues. "I’m particularly drawn to emerging talent, so I encourage labels and managers to send me their latest material, and I’ll sift through it."
Sony’s Duncan Smith echoes this sentiment, assuring artists with smaller fan bases not to be discouraged. "One of the aspects I most enjoy about this job is that, more often than not, we’re searching for music that enhances the player’s experience or a specific scene," Smith explains. "The artist’s number of hits, streams, or views is frequently secondary to finding music that elevates the gameplay, creates an engaging atmosphere, and resonates with the player. Therefore, a major label affiliation is not a prerequisite."
Even within major entities like Sony, the commitment to discovering compelling music transcends label affiliations. Tom Mackay, Sony’s President of Premium Content A&R, asserts, "Ultimately, great music is great music. While there’s naturally a predisposition to feature Sony Music artists, it would be shortsighted and potentially detrimental to a project to limit consideration solely to Sony artists. It’s about striking a careful balance. If an exceptional track emerges that is perfect for the game and universally admired, we would never obstruct its inclusion."
Cultivating a Distinctive Sonic Identity
From a composer’s perspective, Joe Henson of the musical duo The Flight emphasizes the importance of artists developing a unique voice. "Don’t merely imitate what others are doing, as that territory is already occupied," Henson advises. "Avoid the temptation to produce generic, epic orchestral music; many already do that. If you possess a unique instrument or sound, leverage it."
Duncan Smith concurs, believing that artists with a singular sound are more likely to make a memorable impression. "Develop your own distinct sound and cultivate a strong identity. Resist the urge to chase fleeting trends in gaming or music synchronization," Smith urges. "Focus on the fundamental aspects of building your identity, and then make a concerted effort to connect with individuals like myself and Alex. Stay informed about our current projects, foster relationships, and your dedication will be noticed. If you possess a strong identity, we may revisit your work a year or so later if a project arises that aligns with your style – be it industrial, drum ‘n’ bass, folk, or any other genre. Pursue your passion with unwavering commitment."
Mastering the Approach: Strategies for Effective Outreach
The ultimate goal for artists is to ensure their music reaches as many relevant decision-makers as possible. However, gaining the attention of these individuals via email can be a formidable challenge. Several strategies can increase the chances of an artist’s music being heard.
1. Targeted Submissions: Many video games are meticulously branded to suit specific musical genres. The NBA 2K series, for example, is often associated with rap and hip-hop, while Life is Strange primarily features indie and folk artists. Rather than inundating contacts with unsolicited music, it is crucial to identify which titles or franchises represent the most appropriate fit for an artist’s sound. "We strive for a seamless creative synergy between the artist’s identity – their sound, visual presentation, and overall vibe – and the game itself," explains Sony’s Tom Mackay. "This involves extensive collaboration with directors and game developers to grasp their vision, followed by a meticulous search for artists worldwide who can fulfill that vision."
2. Diligent Research: Once potential musical alignments are identified, artists can determine the most relevant contacts to approach. Ben Sumner notes that many individuals overlook this crucial step, presenting an opportunity for those who invest the effort. "Most people don’t want to do that legwork," he says. Artists can typically find the names of audio and music team members by reviewing game credits. Alternatively, thorough searches on Google and LinkedIn can reveal music supervisors and audio directors. Furthermore, if a game’s launch trailer or promotional video features music that resonates, checking the YouTube description for credits can provide valuable contact information.
3. Leveraging Professional Networks: For artists unsure of where to begin, seeking professional assistance is a viable option. Stephen Root encourages artists to discuss their interest in video game placements with their management or agents to ensure they are considered for opportunities. "I would advise any artist, whether on the cusp of being signed or newly signed, to communicate their enthusiasm for gaming to their management," Root suggests. "Request that they proactively identify and approach companies to explore potential placements for your music. This is a highly beneficial avenue to pursue."
For managers or labels lacking specific expertise in this area, engaging a sync representative is another recommended strategy. These professionals specialize in identifying commercial opportunities and ensuring their clients’ music reaches the appropriate industry contacts. Duncan Smith advocates for this approach, stating, "It’s essential to make the effort to understand what we are working on, and this is where third-party sync representatives can be invaluable. It’s challenging to stay abreast of music supervisors’ current projects and cultivate those relationships. If your label or publisher lacks these connections with music supervisors, find a reputable sync representative who can facilitate that for you."
4. Personalized Pitches: Alex Hackford stresses the importance of tailoring formal pitches to the specific recipient. Demonstrating a deep understanding of a particular game or series, especially one with which the contact has direct involvement, can significantly enhance a pitch’s impact. "When submitting a formal pitch, ensure you know your audience and reference games they have worked on, rather than generic cross-platform titles that may not be as relevant to their specific role," Hackford advises.
Duncan Smith concurs, emphasizing the power of personalized outreach. "Developing a relationship and making a genuine effort will always stand out, especially when compared to the generic emails we receive, often sent to dozens of supervisors simultaneously, without any attempt to ascertain our current projects," Smith notes.
Ben Sumner’s music consultancy, Feel for Music, receives an overwhelming volume of between 200 and 250 emails daily from artists, labels, and publishers seeking game placements. Despite the sheer quantity, Sumner maintains an open-door policy. "While it can be challenging to review every submission, persistence, focus, and a clear understanding of where your music might fit are excellent starting points," he explains. "We generally give everyone a chance. If an email is missed but a polite follow-up is sent, I will ensure it is reviewed." Sumner cites this persistent yet professional approach from Sufjan Stevens’ manager as instrumental in securing his music for the Life is Strange spin-off, The Amazing Adventures of Captain Spirit.
5. Technical Preparedness: Artists must ensure their music is available in a variety of file formats. For trailer placements, access to isolated instrument tracks, known as "stems," as well as complete stereo files, is crucial. This allows for flexible editing and adaptation of the music. "Having your music in the correct formats is vital," Sumner elaborates. "Do you have an instrumental version? Do you have the vocal tracks? We will always require stems if the music is to be remixed for trailers or interactive game elements." He also suggests that artists consider re-arranging their tracks into structures more amenable to in-game use or advertising, such as creating versions that focus on introductions, bridges, and endings, mirroring the typical structure of trailer music.
6. Navigating the Development Cycle: The flight, a music composition duo, acknowledges the difficulty of breaking into the games industry. Joe Henson notes that unlike film and TV, where production schedules are often more transparent, game development can be more opaque due to Non-Disclosure Agreements (NDAs). "In games, you might not be aware of ongoing projects until a significant initial meeting," Henson states. "This can make it challenging to secure placements, especially for new intellectual properties (IPs)." However, for annual franchises like FIFA and Call of Duty, artists can analyze release schedules to anticipate future opportunities. Alex Hackford explains that music integration typically occurs eight to ten months before a game’s release, during the pitching and development phase. Artists should also consider aligning their own music release plans with these timelines, as studios are often keen to feature debut tracks.
Meeting the Brief: Navigating the Nuances of Music Licensing
The process of licensing music is inherently complex, particularly concerning rights ownership. Artists signed to labels or with prior label experience must possess a clear understanding of who holds the rights to their music. Any ambiguities regarding ownership should be addressed proactively at the project’s outset. Alex Hackford shares a cautionary tale: "I’m currently dealing with a situation where I’m very keen on a particular track, but there are significant questions surrounding its ownership, which will likely lead to its exclusion. This is the last thing you want when the song has already been presented to key personnel."
Beyond the music itself, artists and their representatives are encouraged to explore opportunities for added value. "I appreciate it when a manager approaches the fee negotiation by asking, ‘What else can you do for my artist?’" says Duncan Smith. He recounts a successful collaboration on Driveclub, where DJ Shadow’s manager initiated such a discussion, leading to the integration of his album artwork into the game’s car skins. This cross-promotional synergy, Smith notes, stems from proactive questioning and collaborative ideation.
Stephen Root highlights the impact of artists going "all in" to promote their inclusion. He cites the band Broken Witt Rebels, an exclusive artist for Dirt 5, who created a music video using gameplay footage, a move that was highly appreciated by the development team.
Careful planning is essential for any music placement, particularly when coordinating unreleased music with an upcoming game launch. Root emphasizes budget considerations from the outset. For Dirt 5, a well-managed budget allowed for a curated selection of debut tracks from emerging artists alongside established hits. Root structures his budget into three tiers: one for up-and-coming artists, one for mid-tier success, and a final tier for prominent artists.
While securing a music placement in a video game can be a significant career boost, it’s important to maintain realistic financial expectations. Unlike some video game composers who may benefit from royalty agreements, artist reimbursement for contributed tracks is often a fixed-rate scenario. Ben Sumner recalls the early days of Grand Theft Auto, where royalty payments for music placements were common and lucrative. However, he notes, "Royalty payments are generally a thing of the past, though exceptions exist, particularly for writers registered with certain European performance rights organizations (PROs) who have specific rules regarding music licensing in games. Mobile games with limited budgets may also offer royalties."
Duncan Smith advises a pragmatic approach to deal negotiations. "Maintain realistic expectations regarding any deal. Avoid fantasizing about life-changing sums of money," he recommends. "Focus on being reasonable, easy to work with, helpful, and providing all the necessary assets. A positive experience working with an artist, label, or publisher significantly increases the likelihood of repeat business and the development of long-term relationships, rather than a one-off transaction."
The Echo Effect: The Enduring Benefits of Game Music Placements
The impact of a well-placed song in a video game can be transformative. John Feldmann, lead singer of the punk-rock band Goldfinger, credited the song "Superman" with becoming their "biggest song ever written" due to its iconic inclusion in Tony Hawk’s Pro Skater. For many artists, appearing in such titles serves as a "badge of honor."
While game music placements are now commonplace, the recent phenomenon of artists debuting new music within video games offers an unprecedented opportunity to instantly reach millions of players. Alex Hackford cites the example of rapper Lecrae, whose streaming numbers saw a substantial surge following the release of two original tracks for Marvel’s Spider-Man: Miles Morales. "He [Lecrae] is an independent artist, so the expansion of his audience and reach through access to a game like Spider-Man: Miles Morales is significant," Hackford states.
The symbiotic relationship between the gaming and music industries is further exemplified by titles like Hideo Kojima’s Death Stranding, which featured new music from artists such as Bring Me The Horizon, CHVRCHES, Major Lazer, and Khalid. The COVID-19 pandemic, while disruptive, has accelerated this convergence, evident in GTA V Online‘s addition of 250 new tracks in its December DLC update and collaborations between artists like Katy Perry and Post Malone with The Pokémon Company.
Tom Mackay of Sony is confident about the future: "The gaming industry will increasingly influence how the music industry thinks, operates, and strategizes on a daily basis. This is driven by the demonstrable effectiveness of these partnerships when executed correctly, and the inherent joy and excitement they generate for both artists and fans. What we have achieved thus far is merely the tip of the iceberg. These gaming platforms are becoming the new social hubs, the central meeting points for news and cultural exchange, particularly for millennials and younger generations."
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