The marriage of music and video games, once a niche experiment, has evolved into a powerful symbiotic relationship, fundamentally reshaping how artists connect with audiences and how games define their cultural identity. From the groundbreaking integration of electronic music in the 1995 PlayStation title Wipeout to today’s multi-million dollar music licensing deals, the journey highlights a dynamic industry shift, accelerated by technological advancements and the undeniable appeal of interactive entertainment. This evolution has not only created new revenue streams for musicians but has also elevated the role of audio in game design, transforming soundtracks from mere background noise into integral components of the player experience.
The genesis of this trend can be traced back to the mid-1990s, a period when British electronica was exploding onto the global scene. Developers of the futuristic racing game Wipeout, published by Psygnosis and released on the original PlayStation, astutely recognized the synergy between their high-octane gameplay and the pulsating beats of artists like Leftfield, Orbital, and The Chemical Brothers. The PAL version of Wipeout was a revelation, offering players not just a visually stunning racing experience through neon-drenched urban landscapes at breakneck speeds, but also an auditory journey that resonated deeply with the era’s club culture. This innovative soundtrack was widely praised in contemporary reviews, becoming a defining characteristic of the game’s distinctive style. The success of Wipeout led to dedicated soundtrack releases on CD and vinyl, paving the way for subsequent installments in the series to feature music from other prominent artists such as The Prodigy, Paul van Dyk, and Sasha. This early integration of licensed music set a new benchmark, demonstrating the profound impact that carefully curated audio could have on a game’s overall appeal and its ability to capture the zeitgeist.
The Professionalization of Game Music Integration
Fast forward a quarter of a century, and the strategic placement of music within video games has burgeoned into a sophisticated industry in its own right. Dedicated teams, comprised of audio directors, music supervisors, and A&R experts, are now integral to game development studios and music labels alike. Their roles are multifaceted, encompassing everything from sourcing and licensing tracks to ensuring seamless integration within the game’s narrative and gameplay mechanics. Music can be deployed in various ways: as curated playlists and in-game radio stations, akin to those found in iconic franchises like Grand Theft Auto and Watch Dogs, or it can be meticulously edited and repurposed for promotional materials such as launch trailers and marketing campaigns.
The COVID-19 pandemic, which severely curtailed live performances and touring opportunities for musicians worldwide, has acted as a significant catalyst, accelerating the trend of artists and their representatives exploring video games as a vital platform for fan engagement and discovery. Managers, agents, and record labels are increasingly recognizing the potential of interactive entertainment to reach new demographics and cultivate dedicated fan bases. However, navigating the intricacies of music synchronization—the process of legally combining music with visual media—remains a complex undertaking, with many crucial discussions occurring behind closed doors. To demystify this process, industry professionals from both the gaming and music sectors have shared invaluable insights into how artists can successfully have their music featured in video games.
Who Holds the Reins: The Decision-Makers in Game Music
The selection of music for video games is a collaborative process, often involving dedicated in-house teams or external consultants. Larger development studios frequently employ music supervisors and A&R experts who work in tandem with record labels to identify the most suitable tracks. For studios seeking external expertise, companies like Feel for Music offer specialized music consultancy services, assisting with music discovery and the licensing of tracks to 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.
“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,” Sumner explains. “Larger games will have audio directors, brand directors and game directors, all of which 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 importance of objectivity in his role: "A big part of our role is objectivity, because people’s music tastes are so subjective. 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."
The exponential growth of the video game industry has significantly eased the process of demonstrating the value of music collaborations to record labels, publishers, and artist managers. Alex Hackford, head of A&R at Sony Interactive Entertainment America, notes a tangible shift in industry perception: "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. The ability for us to have more buy-in from partners in projects is getting a lot easier."
Sony’s commitment to music integration is evident in projects like Marvel’s Spider-Man: Miles Morales, which featured four original tracks released simultaneously across digital service providers, in-game, and physically. These releases were supported by gameplay-driven music videos, mirroring similar successful partnerships, such as that with RMCA for Death Stranding. Hackford indicates a strong desire within the industry to pursue more such integrated music initiatives.
The Path to Discovery: Getting Your Music Heard
While the desire for widespread music exposure is universal, there is no single, definitive pathway to securing a spot in a video game soundtrack. Duncan Smith, head of music at Sony Interactive Entertainment Europe, reiterates that each game has unique criteria: "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?"
Given the vast volume of music available to supervisors, artists can significantly increase their chances of discovery by adopting a proactive approach. Music supervisors are actively seeking out new talent, not passively waiting for submissions. Therefore, ensuring your music is readily accessible across all major streaming platforms—including Spotify, Apple Music, Deezer, Google Play, and YouTube—is paramount.
Stephen Root, vice president of development creative services at Codemasters, relies heavily on streaming services: "I do use Spotify a lot because it’s nice and easy to use while also having a great 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 unexpected opportunities. Jim Hodge, vocalist for the metal band Mastiff, recounts an unsolicited approach from CD Projekt Red that resulted in their track "Acid Breather" being featured in the highly anticipated Cyberpunk 2077. "We honestly thought it was a wind-up until we started speaking to them properly," Hodge admitted. "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. Having a track on one of the biggest games ever released is absolutely nuts, and hearing our music in the game still freaks us out."
Being signed to a major record label can offer distinct advantages, as labels often have dedicated teams working to place their artists’ music in various media. Root attends specialized listening sessions with record labels, gaining early access to unreleased music and insights into artists’ future plans. "I spend most of my time working on who’s up and coming," he states. "Figuring out which artists these labels are investing their time into and why they think are going to be really successful artists."
However, independent artists are far from excluded. Opportunities abound for unsigned musicians and those on independent labels. Root expresses a strong commitment to supporting emerging talent: "I always want to give people a shot. 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 Duncan Smith echoes this sentiment, emphasizing that an artist’s existing popularity is often secondary to the music’s suitability for the game: "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. So in that sense, you don’t have to be on a major label."
Even within a major label like Sony, the pursuit of great music transcends corporate affiliations. 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 Unique Identity
The pursuit of originality is a recurring theme among industry professionals. Joe Henson of the musical composition duo The Flight advises artists to cultivate their distinct sound: "Don’t just try and do what other people do because they already do that. Don’t just try and do epic, orchestral music because everybody does that. If you have a unique instrument, use that instrument."
Duncan Smith concurs, believing that a one-of-a-kind 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. 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." He adds, "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."
Strategic Approaches to Pitching Music
Effectively reaching decision-makers requires a targeted and thoughtful approach. The sheer volume of unsolicited emails received by music consultants like Ben Sumner—between 200 and 250 daily—underscores the challenge. "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," Sumner advises. "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 persistence, exemplified by Sufjan Stevens’ manager who successfully placed his music in The Amazing Adventures of Captain Spirit, can be crucial.
Targeting the Right Fit
A fundamental step in the pitching process is identifying games or franchises that align with an artist’s musical style and aesthetic. The NBA 2K series, for instance, is renowned for its embrace of rap and hip-hop, while the indie game Life is Strange is characterized by its atmospheric indie and folk soundtracks. Tom Mackay emphasizes the importance of a seamless creative connection: "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. 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 meticulous research allows artists to identify the most relevant contacts. Sumner notes that many overlook this crucial step, presenting an opportunity for those who do: "Most people don’t want to do that work." Names of audio and music team members can often be found in game credits, or through online searches on platforms like Google and LinkedIn. Promotional materials, such as launch trailers, often credit the music supervisors involved in their descriptions on YouTube.
For artists seeking professional guidance, engaging with their management or agents is a recommended first step. Stephen Root encourages artists to communicate their interest in gaming to their representatives, who can then proactively seek out opportunities. "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."
In situations where management or labels lack experience in this specialized area, hiring a sync representative—a professional dedicated to identifying commercial opportunities and connecting artists with relevant media placements—is a viable option. Duncan Smith suggests, "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. 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."
Crafting Effective Pitches
When submitting formal pitches, tailoring the approach to the specific recipient is paramount. Alex Hackford stresses the importance of referencing games that the contact has directly worked on, rather than generic cross-platform titles. "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 agrees, adding that genuine effort in building relationships stands out: "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."
Technical Requirements and Creative Flexibility
Beyond artistic merit, technical considerations are crucial. Artists need to ensure their music is available in various file formats, including isolated instrument tracks (stems) and complete stereo files, especially if the music is intended for trailers or interactive in-game elements. "Having your music in the right formats is really important," Ben Sumner explains. "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 are encouraged to consider rearranging their music into structures more suitable for trailers or in-game placement, moving beyond the conventional verse-chorus format. Sumner suggests, "If it’s a trailer, instead of your track being verse, chorus, verse, chorus, why don’t you have a version of the track that’s just intro, middle, ending, which is how trailer music usually works."
Navigating the Game Development Timeline
The secretive nature of game development, often shrouded in Non-Disclosure Agreements (NDAs), can make breaking into the industry challenging. Joe Henson of The Flight notes, "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."
However, annual franchises like FIFA and Call of Duty offer a more predictable development cycle, allowing artists to align their music release plans with game 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 timeline provides a window for artists to submit unreleased material, offering studios the opportunity to debut new music and create exclusive content.
Understanding Licensing and Collaboration
Licensing music involves complex legal frameworks, and artists must be aware of who owns the rights to their work, especially if they have a history with record labels. Unclear ownership can derail even promising placements. "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," Hackford admits. "That’s the last thing you want when you’ve already got as far as getting the song into someone’s hands."
Beyond monetary compensation, artists are encouraged to explore opportunities for added value and cross-promotion. Duncan Smith highlights the proactive approach of DJ Shadow’s manager during the development of Driveclub, which led to the artist’s album artwork being featured on in-game car skins. "Always ask yourself ‘what else is out there’ and if you can you do any cross-promotion."
Similarly, the band Broken Witt Rebels significantly amplified their presence in Dirt 5 by creating a music video using in-game footage, a move that was highly appreciated by the development team.
Budgetary Considerations and Compensation Models
Music licensing budgets vary significantly, influencing the type and volume of music that can be secured. Stephen Root categorizes fees into three tiers: up-and-coming artists, those in the middle ground of success, and established "big hitters." This tiered approach allows for a curated mix of emerging talent and popular tracks.
While royalty payments were once more common, particularly in the early days of franchises like Grand Theft Auto, the industry has largely shifted towards fixed-rate licensing deals. Ben Sumner notes, "In the early days with GTA they used to offer a royalty on tracks. The people that put music into those earlier GTA games did very well out of those placements, whereas now it’s a fixed-rate type of scenario, which is a big fundamental change." Exceptions may exist for certain European performance rights organizations or in the mobile gaming sector with limited budgets.
Duncan Smith advises artists to maintain realistic expectations regarding 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. It’s more about being realistic, in addition to being good to work with, being helpful, and providing us with all the stuff we need." Building long-term relationships and repeat business through positive collaboration can ultimately be more financially beneficial than a single, one-off fee.
The Unrivaled Impact: Benefits of Game Music Placements
The influence of music placement in video games cannot be overstated. The punk-rock band Goldfinger famously credited their track "Superman" with becoming their "biggest song ever written" due to its inclusion in Tony Hawk’s Pro Skater. For many artists, particularly independent ones, appearing in a major game can lead to substantial increases in streaming numbers and fan engagement. Alex Hackford points to Lecrae, an independent artist whose streaming numbers saw a significant jump after featuring on two original tracks for Marvel’s Spider-Man: Miles Morales.
The symbiotic relationship between the gaming and music industries is further exemplified by titles like Death Stranding, which featured new music from a diverse array of artists. The COVID-19 pandemic has only accelerated this trend, with major updates to games like GTA V Online incorporating hundreds of new tracks and artists like Katy Perry and Post Malone collaborating with established franchises such as Pokémon.
Tom Mackay asserts that the gaming industry’s influence on music strategy will only grow: "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. I think the reasons for that is because of A), the effectiveness in the marketplace when you get it right, and B), the natural joy and excitement it brings to both the artists and fans." He concludes, "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 interactive entertainment continues to evolve, its role as a cultural hub and a powerful promotional tool for musicians is set to become even more pronounced.
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