The symbiotic relationship between music and video games has evolved dramatically since the groundbreaking integration of electronic music into the 1995 PlayStation title Wipeout. This pioneering fusion, which saw UK electronica heavyweights like Leftfield, Orbital, and The Chemical Brothers lend their distinctive sounds to the futuristic racing sim, not only defined the game’s identity but also set a new benchmark for how music could enhance the interactive experience. The success of Wipeout‘s soundtrack, which was lauded in contemporary reviews and led to dedicated CD and vinyl releases, paved the way for subsequent titles in the series to feature artists such as The Prodigy and Sasha, cementing Wipeout‘s association with the mid-90s British dance music scene. While not the first game to utilize licensed tracks, Wipeout masterfully demonstrated the power of curated audio, transforming background music into an integral element of gameplay and cultural impact.
Fast forward a quarter-century, and the art of synchronizing music with video games has blossomed into a sophisticated industry in its own right. Dedicated teams, comprising audio directors, music supervisors, and A&R experts, are now instrumental in the meticulous selection and integration of music into games. The application of these soundtracks is as diverse as the games themselves, ranging from ambient background music in expansive open-world titles like Grand Theft Auto and Watch Dogs, to carefully edited segments used in promotional materials such as launch trailers. The COVID-19 pandemic has further accelerated this trend, with the widespread cancellation of live performances prompting musicians and their representatives to actively seek new avenues for exposure and fan engagement within the digital realm. This shift has amplified the importance of music synchronization – the process of aligning music with visual media – a field that has historically operated with a degree of opacity. To demystify this process, industry professionals from both the gaming and music sectors offer insights and practical advice for artists aspiring to have their music featured in video games.
The Architects of Game Soundtracks: Who Decides What We Hear?
Within larger game development studios, in-house teams of music supervisors and A&R specialists collaborate closely with record labels to identify music that aligns with a game’s aesthetic and narrative. For studios seeking external expertise, music consultancy firms like Feel for Music provide invaluable support in music discovery and licensing. Ben Sumner, Director at Feel for Music, explains that the briefs provided by game developers can be remarkably varied, influenced by the project’s scope and the creative team’s musical inclinations. "Some individuals are deeply passionate about music from the outset, which often dictates when we become involved in the project," Sumner notes. "Larger productions will typically have audio directors, brand directors, and game directors, all possessing distinct visions for the game’s sonic landscape. Our role can range from fine-tuning existing selections to helping teams define their sound from scratch when they are unsure of their direction."
Sumner emphasizes the crucial role of objectivity in their work, particularly given the subjective nature of musical taste. "Our primary function is to introduce objectivity, illustrating how specific music resonates with particular demographics, how it complements the game’s environment, and the cultural capital it brings to the overall branding." Alex Hackford, Head of A&R at Sony Interactive Entertainment America, observes that the exponential growth of the video game industry has significantly eased the process of communicating the value of these collaborations to record labels, publishers, and artist managers. "The barrier to entry for upfront discussions with labels and publishers regarding the value of video game integration has been considerably lowered due to the demonstrable impact of such partnerships," Hackford states. "Securing buy-in from our partners for new projects is becoming increasingly straightforward."
Hackford cites examples of successful collaborations, such as the creation of four original tracks for Spider-Man: Miles Morales, which were simultaneously released across digital service providers, within the game, and as a physical product. Music videos featuring gameplay footage were produced for each track. Similar integrated music strategies were employed in their partnership with RMCA for Death Stranding. "I believe it’s fair to say that we are all actively seeking opportunities to expand these types of initiatives," Hackford adds.
Unearthing Musical Gems: Strategies for Discovery
The aspiration for any artist is widespread recognition, yet there is no single, guaranteed pathway to securing a place in a video game soundtrack. Duncan Smith, Head of Music at Sony Interactive Entertainment Europe, clarifies, "Each game possesses unique criteria, contingent on its thematic message and the desired musical atmosphere. A game might benefit from a contemporary tracklist featuring prominent artists, or conversely, find its experience enhanced by the inclusion of more obscure bands." With an almost inexhaustible supply of music available to music supervisors, several key strategies can significantly improve an artist’s chances of being discovered.
Proactive outreach is a cornerstone of music discovery within the gaming industry. Music supervisors are not passive recipients of submissions; they actively seek out emerging talent. Therefore, ensuring an artist’s music is accessible across a wide array of platforms – including Spotify, iTunes, Deezer, Google Play, and YouTube – is paramount to increasing visibility. Stephen Root, Vice President of Development Creative Services at Codemasters, relies heavily on platforms like Spotify. "I frequently utilize Spotify because of its user-friendly interface and excellent design," Root explains. "When we were developing the soundtrack for Dirt 5, Spotify provided an efficient method for curating playlists and sharing them with key stakeholders within the company."
The widespread availability of music can lead to serendipitous opportunities. Jim Hodge, vocalist for the metal band Mastiff, recounts being approached unexpectedly by CD Projekt Red, which resulted in their track "Acid Breather" being featured in the highly anticipated game Cyberpunk 2077. "We initially suspected it was a prank until we engaged in proper communication," Hodge admits. "They were interested in an unreleased track, and we had literally just finished recording it the month prior. Crucially, we were out of contract at the time, which facilitated the release of the track. Having our music in one of the most significant game releases ever is extraordinary, and hearing it within the game still feels surreal."
While not a prerequisite, being signed to a major record label can offer advantages, as labels often have dedicated teams focused on music placement. Stephen Root regularly attends specialized listening sessions hosted by record labels, where he gains early access to unreleased material and insights into artists’ future plans. "My primary focus is on identifying up-and-coming talent, understanding which artists labels are investing in and why they anticipate their success," Root states. However, the landscape is inclusive, with numerous opportunities available for unsigned artists or those on independent labels.
"I am always keen to provide emerging artists with a platform," Root continues. "I actively seek out new talent and encourage labels and managers to submit all new material my way for consideration." Duncan Smith of Sony echoes this sentiment, advising bands not to be deterred by a smaller fanbase. "A significant aspect of my role involves finding music that elevates the game experience or a particular scene," Smith explains. "The artist’s hit count, stream numbers, or view statistics are often secondary to the music’s ability to enhance the experience, create engagement, and forge a connection with the player. Therefore, being signed to a major label is not an absolute necessity."
Tom Mackay, Sony’s President of Premium Content A&R, reassures artists that a lack of affiliation with Sony Music does not preclude them from having their music featured in PlayStation titles. "Ultimately, exceptional music transcends labels," Mackay asserts. "While there is an inherent inclination to feature Sony Music artists in our projects, it would be shortsighted and detrimental to the game or project to limit our consideration solely to them. It requires a delicate balance. If an outstanding record emerges that is perfectly suited for a game and garners universal acclaim, we would certainly not obstruct its inclusion."
Crafting the Perfect Pitch: Navigating the Approach
The overarching goal for artists is to maximize exposure for their music and ensure it reaches the relevant decision-makers. However, securing an opening for an email submission can often feel like an uphill battle. Several key considerations can significantly enhance 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 of Life is Strange leans towards indie and folk artists. Rather than indiscriminately sending music to numerous contacts, it is crucial to identify specific titles or franchises that would be a natural fit for an artist’s sound. "The aim is to establish a seamless creative synergy between the artist, their presentation – their sound, visual identity, and overall vibe – and the game itself," explains Sony’s Tom Mackay. "We invest considerable time collaborating with directors and game developers to fully grasp their vision, and then meticulously scour global music offerings to identify suitable matches."
Once a potential fit has been identified, pinpointing the most relevant contacts becomes a more targeted endeavor. "Most individuals are unwilling to undertake this preparatory work," notes Ben Sumner, which can be leveraged to an artist’s advantage. Researching game credits to identify members of the audio and music teams, or utilizing platforms like Google and LinkedIn to search for music supervisors and audio directors, are effective methods. Additionally, examining YouTube video descriptions for credits on launch trailers or other promotional content can reveal key personnel.
For artists unsure of where to begin their outreach, seeking professional guidance is a viable option. Stephen Root encourages musicians to proactively discuss their interest in video game placements with their management or agents. "I would advise any artist, whether on the cusp of signing or newly signed, to communicate their enthusiasm for gaming to their management," Root suggests. "Request that they actively seek out and approach companies to explore potential opportunities for your music. This is a highly beneficial avenue to pursue." In situations where management or labels may lack the necessary experience, engaging a sync representative – a professional dedicated to identifying commercial opportunities and connecting clients with the right industry contacts – is another avenue recommended by Duncan Smith for artists serious about game placements. "It is essential to make an effort to understand our current projects, and third-party sync reps can be instrumental in this regard," Smith notes. "Especially given the difficulty in staying abreast of music supervisors’ ongoing work and cultivating those relationships. If you lack a label or publisher with established connections to music supervisors, identify a suitable sync rep who can facilitate these introductions."
Alex Hackford emphasizes the importance of tailoring formal pitches to the recipient. Demonstrating a thorough understanding of a specific game or series that the contact has involvement in can be highly impactful. "In the case of a formal pitch, ensure you know precisely who you are addressing and reference games relevant to their work, rather than generic, cross-platform titles that may not hold the same significance," Hackford advises. His colleague, Duncan Smith, concurs. "Cultivating a relationship and making a genuine effort will always stand out, particularly in contrast to the generic emails we receive, which often list numerous supervisors without any personalized research into our current projects."
Ben Sumner’s consultancy, Feel For Music, receives an overwhelming volume of submissions daily. Despite the challenges of sifting through such a large influx, Sumner acknowledges the persistence of artists. "While it can be challenging to review every submission, a persistent, focused approach, coupled with an understanding of where your music might fit, provides an excellent foundation," Sumner states. "We endeavor to give most inquiries a chance. If an email is missed, a polite follow-up ensures it receives attention." Sumner cites the persistent efforts of Sufjan Stevens’ manager as instrumental in securing the artist’s music for Life is Strange spin-off The Amazing Adventures of Captain Spirit.
Furthermore, ensuring music is available in various formats is critical. For trailer submissions, having access to isolated instrumental tracks, known as "stems," alongside the complete stereo file is essential for editors. "Having your music in the appropriate formats is paramount," Sumner stresses. "Do you possess instrumental versions and vocal tracks? Stems are consistently required, especially when adapting music for trailers or interactive game elements." He also suggests that artists consider re-structuring their music to better suit in-game placement or advertising, moving away from traditional verse-chorus structures towards arrangements that emphasize intros, middles, and endings, which are more typical of trailer music.
The music composition duo The Flight notes that the games industry is notoriously challenging to penetrate, whether as a composer or an artist seeking music placement. Joe Henson from The Flight explains, "In film and television, you can often ascertain upcoming productions and connect with individuals who provide insights. In gaming, you might not learn about ongoing projects until a significant initial meeting. We may conclude work with a studio like Ubisoft and have no immediate knowledge of their next endeavor. Opportunities can arise unexpectedly, and due to Non-Disclosure Agreements (NDAs), the video game sector can present a unique barrier to entry." While new intellectual properties (IPs) are harder to access, annual franchises like FIFA and Call of Duty offer a more predictable release schedule, allowing artists to align their music releases accordingly. "Many annual games have consistent release cycles, enabling artists to work backward," Alex Hackford explains. "We typically commence work on music and the pitching process approximately eight to ten months prior to a game’s release." Artists are also encouraged to consider their own release schedules. If unreleased tracks are available, informing potential collaborators can be advantageous, as studios often welcome the opportunity to debut new music.
Navigating Licensing and Maximizing Collaboration
The licensing of music is a complex process, and artists signed to labels or with prior label experience must possess a clear understanding of music rights ownership. Addressing any ambiguities surrounding ownership at the outset is crucial. "I am currently encountering a situation where a track I find compelling has significant questions surrounding its ownership, which may unfortunately necessitate its exclusion," Hackford states. "This is the last outcome one desires when a song has already reached a certain stage of consideration."
For artists fortunate enough to have their music selected for a game, exploring opportunities for added value beyond the initial placement is highly recommended. This can involve collaborating with social media campaigns promoting the game’s launch. "I appreciate when a manager proposes additional value beyond the agreed-upon fee," says Duncan Smith. "For example, during the development of Driveclub, DJ Shadow’s manager inquired about further collaborations, which led to the integration of his album artwork onto in-game cars. This stemmed directly from the manager’s proactive engagement and discussions with the development team. Always consider ‘what else is possible’ and explore cross-promotional avenues."
Amplifying a game’s reach can be as simple as sharing content on social media or repurposing game assets. Stephen Root highlights the case of the band Broken Witt Rebels, an exclusive artist featured in Dirt 5. "They didn’t just participate; they fully committed, even producing a music video utilizing gameplay footage," Root recounts. "We were highly impressed by their dedication."
Any music placement requires meticulous planning, particularly when coordinating unreleased music with an upcoming game launch. Root emphasizes the importance of budget considerations from the project’s inception. Careful financial planning for Dirt 5‘s soundtrack allowed Root and his team to curate a diverse selection, featuring debut tracks from emerging artists alongside established hits. "I assess the overall budget at the outset, which informs the potential number of tracks we can license and how that allocation will be distributed across the game," Root explains. "I categorize fees into three tiers: emerging artists, those at a mid-career stage, and established headliners."
While securing a place in a video game soundtrack can be a significant career boost, it is important to maintain realistic financial expectations. While some video game composers benefit from royalty agreements on their scores, artist compensation for contributed tracks typically follows a different model. "In the early days of Grand Theft Auto, royalties were offered on tracks," recalls Ben Sumner. "Those who contributed music to those initial GTA titles experienced substantial financial gains. However, the current model is predominantly a fixed-rate scenario, representing a significant shift." Sumner elaborates that royalty payments are now less common, with notable exceptions including writers registered with specific European performance rights organizations (PROs) that have distinct regulations for music licensing in games, and some mobile games with limited upfront budgets that may offer royalties.
Duncan Smith advocates for reasonable expectations, suggesting that a collaborative and supportive approach can yield long-term benefits. "Strive for realistic expectations regarding any deal. Avoid fantasizing about life-changing sums of money. It is more about being pragmatic, pleasant to work with, helpful, and providing all necessary materials," Smith advises. "A positive working relationship with an artist, label, or publisher increases the likelihood of repeat business and the establishment of a long-term partnership, rather than a one-off transaction."
The Tangible Rewards: Benefits of Game Music Placement
The impact of having music featured in a well-chosen video game cannot be overstated. John Feldmann, lead singer of the punk-rock band Goldfinger, stated in a 2020 interview that their track "Superman" became their "biggest song ever written" due to its inclusion in Tony Hawk’s Pro Skater, describing the experience as a "badge of honor." While game soundtracks are now more commonplace than two decades ago, the recent trend of artists debuting new music within video games offers immediate access to millions of players.
Alex Hackford highlights the significant impact on artists, noting that for Marvel’s Spider-Man: Miles Morales on PS5, two original tracks with independent artist Lecrae resulted in a substantial increase in his streaming numbers. "The expansion of audience and reach derived from access to a game like Spider-Man: Miles Morales is considerable," Hackford states. 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 like Bring Me The Horizon, CHVRCHES, Major Lazer, and Khalid. The COVID-19 pandemic, while disruptive to live music, has accelerated the integration of music into gaming platforms, evident in GTA V Online‘s release of 250 new tracks in its December DLC update and collaborations between artists like Katy Perry and Post Malone with The Pokémon Company.
"The gaming industry will progressively assume a more significant role in the strategic thinking and operational frameworks of the music industry on a daily basis," predicts Tom Mackay from Sony. "This evolution is driven by A) the demonstrable market effectiveness when these collaborations are executed successfully, and B) the inherent enjoyment and excitement these partnerships generate for both artists and fans." Mackay confidently asserts that current achievements represent merely the "tip of the iceberg," positioning gaming platforms as the "new water cooler" and essential meeting places for information and cultural exchange, particularly among younger demographics.
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