Twenty-five years ago, the iconic PlayStation title Wipeout revolutionized the gaming landscape not just with its futuristic racing gameplay, but with its groundbreaking integration of licensed electronic music. In 1995, Psygnosis and PlayStation collaborated to feature a curated soundtrack from some of the UK’s most prominent electronica artists, including Leftfield, Orbital, and The Chemical Brothers, for the PAL version of the game. This bold move transformed Wipeout into a cultural phenomenon, resonating deeply with a generation that embraced club culture and high-octane digital experiences. The pulsating beats and atmospheric soundscapes perfectly complemented the game’s neon-drenched racetracks and breakneck speeds, creating an immersive audio-visual synergy that critics lauded and players embraced. This sonic partnership became a defining characteristic of Wipeout‘s identity, leading to successful separate CD and vinyl soundtrack releases. The series continued this trend, featuring influential artists like The Prodigy, Paul van Dyk, and Sasha in subsequent installments, solidifying Wipeout‘s indelible association with the mid-’90s British dance music scene. While not the first video game to feature licensed music, Wipeout undeniably set a new benchmark, demonstrating the profound impact that carefully selected music can have on a game’s appeal and cultural resonance.
Today, the art of integrating music into video games has evolved into a sophisticated and lucrative industry in its own right. Dedicated teams, comprising audio directors, music supervisors, and A&R experts, now meticulously craft sonic landscapes for virtual worlds. The role of music in games is multifaceted, ranging from ambient background scores and in-game radio stations, as seen in perennial favorites like Grand Theft Auto and Watch Dogs, to its strategic deployment in promotional materials like launch trailers. The COVID-19 pandemic has further amplified this trend, as widespread cancellations of live performances have prompted musicians and their representatives to seek new avenues for audience engagement. Video games have emerged as a powerful platform for artists to connect with new fan bases, with managers, agents, and record labels actively exploring these burgeoning opportunities. However, navigating this space and securing music placements can be a complex and often opaque process, with crucial discussions surrounding music synchronization—the art of pairing music with visual media—frequently occurring behind closed doors. To demystify this process, industry experts from both the gaming and music sectors have shared invaluable insights on how artists can effectively get their music featured in video games.
The Architects of Game Audio: Who Orchestrates the Soundtrack?
The selection of music for video games is a collaborative effort, often spearheaded by specialized teams within larger development studios. These in-house music supervisors and A&R professionals work in tandem with record labels to identify tracks that align with a game’s vision and target audience. For studios that may not possess in-house expertise, external music consultancy firms, such as Feel For Music, play a crucial role in music discovery and licensing, ensuring that the chosen music meets 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, development stage, and the creative team’s existing musical sensibilities.
"Most people appreciate music, but some are deeply passionate music enthusiasts from the outset," Sumner explains. "This often dictates the point at which we become involved in a project. Larger game productions typically have audio directors, brand directors, and game directors, all of whom possess strong ideas about the desired sonic identity. Sometimes, our role involves refining existing concepts, while other times, the team may have a less defined vision."
Sumner emphasizes the importance of objectivity in his role. "A significant part of our responsibility is to bring objectivity to the process, as music preferences are inherently subjective," he states. "We aim to demonstrate how specific music can resonate with particular demographics, how it harmonizes with the game’s aesthetic and narrative, and the cultural capital it can lend to the overall brand."
The burgeoning growth of the video game industry has significantly eased the process of communicating the value of music collaborations to record labels, publishers, and artist management. Alex Hackford, head of A&R at Sony Interactive Entertainment America, observes, "The accessibility of direct conversations with labels and publishers regarding the value of video game involvement has dramatically improved. This heightened awareness has fostered greater buy-in from our partners on various projects." Hackford points to successful integrations like the four original tracks commissioned for Spider-Man: Miles Morales, which were simultaneously released across digital service providers, within the game, and in physical formats, complete with gameplay-driven music videos. Similar collaborative efforts were undertaken for Death Stranding in partnership with RMCA, indicating a clear industry trend towards deeper musical integration.
Unearthing the Next Hit: Strategies for Music Discovery
While artists aspire to have their music heard by the widest possible audience, securing a place in a video game soundtrack is not a matter of luck but a result of strategic effort. Duncan Smith, head of music at Sony Interactive Entertainment Europe, notes that "Every game has different criteria, and the required music often depends on the game’s narrative and intended tone. The question is whether the game would benefit more from a contemporary soundtrack featuring established artists or from exploring more obscure bands to enhance the player experience."
With a seemingly endless supply of music available to music supervisors, artists can significantly increase their chances of discovery by implementing a few key strategies. Proactive efforts are integral to identifying emerging talent for video games; music supervisors actively seek out new music rather than passively waiting for submissions. Therefore, ensuring music is widely available across various digital platforms—including Spotify, Apple Music, Deezer, Google Play, and YouTube—is paramount.
Stephen Root, vice president of development creative services at Codemasters, shares his reliance on Spotify: "I frequently utilize Spotify due to its user-friendly interface and excellent functionality. When we were developing the soundtrack for Dirt 5, Spotify provided an efficient way to curate playlists and share them with key stakeholders within the company."
This broad accessibility can lead to serendipitous discoveries. Jim Hodge, vocalist for the metal band Mastiff, recounted an unexpected outreach from CD Projekt Red, which resulted in their track "Acid Breather" being featured in Cyberpunk 2077. "We genuinely thought it was a prank until we engaged in proper discussions," Hodge admitted. "They were interested in an unreleased track, which we had recorded just the month prior. At the time, we were not under contract, making the release process significantly smoother. Having our music featured in one of the most anticipated games ever released is simply incredible; hearing our song within the game still feels surreal."
While not a prerequisite, being signed to a major record label can offer advantages, as label representatives actively work to place their artists’ music. Stephen Root regularly attends specialized listening sessions with record labels, gaining early access to unreleased music and insights into artists’ future projects. "I dedicate most of my time to discovering emerging talent," Root explains. "I focus on identifying artists that labels are investing in and the reasons behind their confidence in those artists’ potential success."
However, independence does not preclude artists from securing game placements. Opportunities abound for unsigned artists and those on independent labels. Root advocates for an open approach: "I am always willing to give new artists a chance. I have a keen interest in up-and-coming talent, so I encourage labels and managers to send me all their new material for consideration."
Duncan Smith echoes this sentiment, reassuring artists with smaller fan bases. "One of the most rewarding aspects of this job is that, more often than not, we are seeking music that elevates the game’s experience or a specific scene," Smith states. "The artist’s hit count, stream numbers, or view metrics are frequently secondary. The primary objective is to find music that enhances the experience, makes it compelling, and fosters a connection with the player. Therefore, an artist does not need to be on a major label to be considered."
Even artists not affiliated with Sony Music or its subsidiaries can find their way onto PlayStation titles. Tom Mackay, Sony’s president of premium content A&R, asserts, "Ultimately, great music transcends any specific affiliation. While there is a natural inclination to feature Sony Music artists, it would be shortsighted and detrimental to a project’s potential to limit consideration solely to our roster. It’s a delicate balance. If an exceptional record emerges that is perfectly suited for a game and universally embraced, we would never obstruct its inclusion."
Crafting a Sonic Identity: The Power of Uniqueness
From a composer’s perspective, Joe Henson of the musical duo The Flight emphasizes the importance of artistic authenticity. "Don’t simply emulate what others are doing, as they are already doing it," Henson advises. "Avoid falling into the trap of creating generic epic orchestral music; if you possess a unique instrument or sound, leverage it." This sentiment is shared by Duncan Smith, who believes that artists with distinctive sounds are more likely to make a memorable impression. "Develop your own sound and cultivate a strong identity. Resist the urge to chase fleeting trends in gaming or music synchronization," Smith recommends. "Focus on the fundamentals of building your unique identity, and then make a concerted effort to connect with individuals like myself and Alex. Stay informed about our ongoing projects and strive to build genuine relationships. This effort will invariably set you apart."
Smith elaborates, "If you possess a strong, defined identity, we may revisit your work a year or so later if a project arises that requires your specific style—be it industrial, drum ‘n’ bass, folk, or any other genre. Do what you do, and do it with passion."
Navigating the Pitch: Strategies for Effective Outreach
The ultimate goal for any artist is to have their music heard by as many relevant decision-makers as possible. However, the challenge of getting emails opened and considered by the right people can be significant. Several key strategies can improve an artist’s chances of success.
Many video games are meticulously branded to align with specific musical styles or genres. For instance, the NBA 2K series typically features rap and hip-hop, while the soundtrack for Life is Strange leans towards indie and folk artists. Instead of sending music indiscriminately to numerous contacts, it is crucial to identify which titles or franchises would be the most suitable fit for an artist’s sound.
"There needs to be a seamless creative synergy between the artist, their representation, their sound, their visual identity, and their overall ethos, and how that aligns with the game itself," explains Sony’s Tom Mackay. "We invest a considerable amount of time collaborating with directors and game developers to thoroughly understand their vision. Subsequently, we meticulously research bands from around the globe to identify those that best complement this vision."
Once an artist has identified potential musical fits, they can then target the most relevant industry contacts. "Most individuals are unwilling to undertake this detailed research," notes Ben Sumner, making this a strategic advantage for those who do. Artists can typically identify key personnel by examining game credits for audio and music teams. Alternatively, a targeted search on platforms like Google and LinkedIn for music supervisors and audio directors can yield valuable contacts. For those impressed by music featured in launch trailers or promotional videos, checking the YouTube video descriptions often reveals credits for the music supervisors involved.
For artists unsure where to begin their outreach, leveraging existing professional relationships is advisable. Stephen Root encourages musicians to proactively discuss their interest in video games with their management or agents to ensure they are considered for relevant opportunities. "I would advise any artist, whether on the verge of being signed or newly signed, to communicate their enthusiasm for gaming to their management," Root suggests. "Encourage them to actively seek out and approach companies to explore potential placements for your music. This proactive approach is highly beneficial."
In situations where managers or labels may lack the necessary expertise, engaging a sync representative—a professional specializing in identifying commercial opportunities and facilitating music placements—is a recommended course of action, according to Duncan Smith. "It is crucial to make an effort to understand what we are working on, and third-party sync representatives can be instrumental in this regard," Smith observes. "It can be challenging to stay abreast of music supervisors’ current projects and cultivate those relationships. If your label or publisher lacks established connections with music supervisors, finding the right sync representative can bridge that gap."
When preparing formal pitches, Alex Hackford stresses the importance of tailoring them to the recipient. "If you are submitting a formal pitch, ensure you know precisely who you are pitching to and reference games that they have personally worked on, rather than generic cross-platform titles that may not be as relevant to their specific contributions," Hackford advises.
His colleague, Duncan Smith, concurs: "Building a relationship and demonstrating effort will always make a stronger impression, especially compared to the generic emails we receive that are addressed to numerous supervisors and sent without any effort to ascertain our specific projects."
Feel For Music, a busy music consultancy, receives an overwhelming volume of emails daily—between 200 and 250—from bands, artists, labels, and publishers seeking game placements. Ben Sumner acknowledges the sheer quantity makes it challenging to review every submission. "While it may be difficult for us to review all submissions, persistence, focus, and a clear understanding of where your music fits are excellent starting points," Sumner states. "We endeavor to give most inquiries a chance. If an email is inadvertently missed, a polite follow-up will ensure it receives attention." Sumner cites the persistent approach of Sufjan Stevens’ manager as instrumental in securing his music for The Amazing Adventures of Captain Spirit, a spin-off of Life is Strange.
Furthermore, ensuring music is available in various file formats is critical. For trailer submissions, having access to isolated instrument tracks, known as "stems," alongside the complete stereo files is essential. This allows for flexible editing and reworking of the music for trailers or interactive in-game elements. "Having your music in the correct formats is paramount," Sumner explains. "Do you have an instrumental version? Do you have the vocal tracks? We will invariably require stems to rework music for trailers or other applications."
Sumner also suggests that artists consider rearranging their music into structures more conducive to in-game placement or advertising. "For trailers, instead of a standard verse-chorus structure, consider a version that comprises an intro, a middle section, and an outro, which is more typical of trailer music," he recommends.
The Flight, having collaborated across diverse media sectors, views the games industry as particularly challenging to penetrate, whether as a composer or seeking music placement. Joe Henson notes the relative opacity of game development compared to film and television. "In film and TV, you can often ascertain what projects are in production and engage with individuals who can provide updates," Henson says. "In the games industry, you may not be aware of ongoing projects until an initial significant meeting. We might conclude work with a studio like Ubisoft and have no immediate knowledge of their subsequent endeavors. Opportunities often arise unexpectedly, and the prevalence of Non-Disclosure Agreements can make the games industry challenging to enter."
While new intellectual property (IP) presents a steeper learning curve, established annual franchises such as FIFA and Call of Duty offer predictable release schedules that artists can leverage. "Many annual games are released on a recurring basis, allowing artists to work backward from these schedules," explains Alex Hackford. "We typically begin working on music for a game approximately eight to ten months prior to its release, during the pitching and active composition phases." Artists should also consider their own release plans. Submitting unreleased tracks can be advantageous, as studios often welcome the opportunity to debut new music from promising artists.
Harmonizing Rights and Rewards: Navigating Licensing and Royalties
The business of music licensing is intricate, and artists signed to labels or with past label experience must have a clear understanding of who owns the various rights to their music. Any ambiguities surrounding ownership should be addressed early in the project. "I am currently facing a situation where I am very interested in a particular track, but there are significant questions regarding its ownership, which may force me to pass on it," states Hackford. "This is the last scenario anyone desires when a song has already reached a certain stage of consideration."
For artists whose music is successfully placed in a video game, exploring opportunities to add further value to the collaboration is encouraged. This can involve engaging with the game’s social media platforms during promotional campaigns. Such proactive engagement can lead to additional opportunities. "I appreciate it when a manager states that the fee is negotiable, but inquires about what else can be done for their artist," says Duncan Smith. "DJ Shadow’s manager had a similar conversation when I was working on Driveclub. We ultimately integrated his album artwork onto in-game car skins, which stemmed directly from the manager’s proactive inquiry and sparked a dialogue with the development team. It is always beneficial to ask, ‘What other avenues are available for cross-promotion?’"
Stephen Root highlights the impact of artists actively promoting their involvement: "One of the exclusive artists featured in Dirt 5 was the band Broken Witt Rebels. They didn’t just participate passively; they fully embraced the opportunity, even creating a music video using gameplay footage. We were highly impressed by their commitment."
Any music placement necessitates meticulous planning, especially when coordinating the release of unreleased music alongside a game launch. Root emphasizes the importance of considering the budget from the outset. Careful budgetary planning for Codemasters’ off-road arcade racer Dirt 5 enabled Root and his team to curate a diverse soundtrack featuring debut tracks from emerging artists alongside established hits. "I assess the overall budget at the project’s inception, which informs the potential number of tracks we can license and how that budget is allocated across the game," Root explains. "I established three tiers of fees: one for up-and-coming or newer artists, a second for artists in the mid-tier of success, and a final tier for major artists."
While securing a music placement in a video game can be a significant career boost, it is not typically a path to overnight riches. While some video game composers benefit from contractual terms that include royalties on their scores, the reimbursement structure for contributed tracks from artists often differs. "In the early days of Grand Theft Auto, royalties were offered on tracks," recalls Ben Sumner. "Artists who contributed music to those initial GTA games saw considerable financial benefit from those placements. However, the current model is predominantly a fixed-rate arrangement, representing a fundamental shift."
Sumner elaborates, "Royalty payments are generally a relic of the past, though exceptions exist, particularly for writers registered with certain European performance rights organizations (PROs) that have specific rules regarding music licensing in games. I have also encountered mobile games with minimal or modest upfront budgets that do offer royalties."
Duncan Smith advocates for realistic expectations to foster long-term financial benefits. "Approach deals with realistic expectations. Avoid fantasizing about life-changing sums of money," Smith advises. "It is more about being reasonable, being a pleasure to work with, being helpful, and providing all necessary materials. If we have a positive experience collaborating with an artist, label, or publisher, we are more inclined to seek future collaborations. This fosters repeat business and builds long-term relationships, rather than isolated transactions."
The Enduring Impact: The Synergy Between Gaming and Music
The influence of music placement in video games cannot be overstated. John Feldmann, lead singer of the punk-rock band Goldfinger, remarked in a 2020 interview that their song "Superman" became their "biggest song ever written" due to its inclusion in Tony Hawk’s Pro Skater. For other bands, appearing in the series was akin to receiving a "badge of honor." While music placements in games are now far more common than two decades ago, the relatively recent phenomenon of artists debuting new music within video games allows them to instantly reach millions of players.
Alex Hackford notes the substantial impact on independent artists: "For Marvel’s Spider-Man: Miles Morales on the PS5, we commissioned two original tracks with the artist Lecrae. His streaming numbers saw a significant surge based solely on those two tracks. Lecrae is an independent artist at this stage, so the expansion of his audience and reach through access to a game like Spider-Man: Miles Morales is profound."
The symbiotic relationship between the gaming and music industries is further exemplified by Hideo Kojima’s Death Stranding, which featured new music from prominent artists including Bring Me The Horizon, CHVRCHES, Major Lazer, and Khalid. The COVID-19 pandemic, while creating an uncertain landscape for musicians, has also accelerated the industry’s integration with video games. This is evident in GTA V Online‘s addition of 250 new tracks in its December DLC update, and collaborations such as Katy Perry and Post Malone partnering with The Pokémon Company.
Tom Mackay of Sony emphasizes the growing significance of gaming in the music industry’s strategic outlook. "The gaming industry will increasingly shape how the music industry thinks, operates, and strategizes on a daily basis moving forward," Mackay predicts. "This is driven by A) the demonstrable effectiveness of well-executed integrations in the marketplace, and B) the inherent joy and excitement these collaborations bring to both artists and fans. What has been achieved thus far is merely the tip of the iceberg. These gaming platforms are the new ‘water cooler,’ serving as central meeting points for news and cultural exchange, particularly for millennials and younger generations."
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