The landscape of video game soundtracks has undergone a seismic transformation since the mid-1990s, evolving from a complementary audio layer to a cornerstone of player experience and a powerful promotional tool. What began with the groundbreaking integration of electronic music in titles like Wipeout has blossomed into a sophisticated industry where dedicated professionals curate sonic journeys, and artists find new avenues for discovery and engagement. This evolution reflects not only advancements in technology but also a fundamental shift in how music and interactive entertainment are perceived and valued.
The genesis of this fusion can be traced back to 1995, when PlayStation, in collaboration with Psygnosis, launched Wipeout. For the PAL region, the game featured a curated selection of UK electronica heavyweights, including Leftfield, Orbital, and The Chemical Brothers. This wasn’t merely background noise; it was an integral part of the game’s futuristic, high-octane identity. The pulsating beats and synthesized melodies perfectly complemented the breakneck speed of the anti-gravity racing, creating a visceral, almost synesthetic experience for players. Reviews at the time lauded the soundtrack, solidifying its status as a defining characteristic of the Wipeout brand. The success paved the way for subsequent entries to feature equally iconic artists like The Prodigy, Paul van Dyk, and Sasha, cementing Wipeout‘s association with the vibrant mid-’90s British dance music scene. While not the first game to employ licensed music, Wipeout set a new benchmark for how thoughtfully chosen audio could elevate a game from mere entertainment to a cultural phenomenon.
The Professionalization of Game Audio Curation
Fast forward two and a half decades, and the art of selecting and integrating music into video games has matured into a specialized and highly lucrative field. The industry now boasts dedicated teams comprising audio directors, music supervisors, and A&R experts. These professionals are tasked with the complex undertaking of identifying, licensing, and implementing music that enhances the gameplay, reinforces the narrative, and resonates with the target audience. The application of music is diverse, ranging from curated in-game radio stations, famously featured in franchises like Grand Theft Auto and Watch Dogs, to meticulously edited tracks for marketing campaigns, including high-impact launch trailers.
The COVID-19 pandemic, which severely curtailed live music performances, has inadvertently accelerated this trend, pushing bands and artists to explore video games as a vital platform for reaching new fans. Managers, agents, and record labels are actively seeking opportunities within this burgeoning market. However, navigating the intricate world of music synchronization – the process of pairing music with visual media – remains a challenge, with many crucial discussions occurring behind closed doors. To demystify this process, experts from both the gaming and music industries offer insights into how artists can successfully place their music within video games.
Who Holds the Baton: Deciphering the Decision-Makers
The authority on music selection within video game development varies depending on the studio’s size and resources. Larger development houses often maintain in-house music departments, staffed by music supervisors and A&R specialists who collaborate closely with record labels to identify suitable tracks. Smaller studios or those with specific sonic requirements may engage external music consultancies, such as Feel For Music. Ben Sumner, director at Feel For Music, explains that the process begins with a detailed brief, which can differ dramatically based on the game’s genre, aesthetic, 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 notes. "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. "A big part of our role is objectivity, because people’s music tastes are so subjective," he states. "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, observes that 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. "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 explains. "The ability for us to have more buy-in from partners in projects is getting a lot easier." He points to successful integrations like the original music for Marvel’s Spider-Man: Miles Morales, which saw four original tracks released simultaneously across digital service providers, in-game, and physically, complete with gameplay music videos. Similar strategies were employed in the partnership for Death Stranding. "I don’t think I speak out of turn when I say all of us are looking to do more of those types of things," Hackford adds.
Navigating the Labyrinth: Getting Your Music Discovered
For aspiring artists, the desire to have their music heard by millions is a primary motivator, but the path to securing a spot in a video game soundtrack is rarely straightforward. Duncan Smith, Head of Music at Sony Interactive Entertainment Europe, cautions against seeking a "magic 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. Therefore, making music widely accessible across all major platforms – Spotify, Apple Music, Deezer, Google Play, and YouTube – is paramount. Stephen Root, Vice President of Development Creative Services at Codemasters, highlights the utility of platforms like Spotify. "I do use Spotify a lot because it’s nice and easy to use while also having a great interface," he says. "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 opportunities. Jim Hodge, vocalist for the metal band Mastiff, recounts how the band was approached by CD Projekt Red, resulting 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 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. 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."
While being signed to a major record label can provide an advantage, with label personnel actively seeking placement opportunities, it is not a prerequisite for inclusion. Stephen Root attends numerous specialized listening sessions with record labels, offering him a preview of emerging artists and their future projects. "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, the doors are not closed to unsigned artists or those on 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 Duncan Smith reassures artists with smaller fan bases. "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 major corporations like Sony, the pursuit of exceptional music transcends label affiliations. Tom Mackay, President of Premium Content A&R at Sony, 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 Composer’s Perspective
Beyond accessibility, developing a distinctive sonic identity is crucial for making a lasting impression. Joe Henson, of the musical composition duo The Flight, emphasizes the importance of artistic authenticity. "Don’t just try and do what other people do because they already do that," he advises. "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 capture the attention of key decision-makers. "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 urges. "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. 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 Engagement: Mastering the Approach
The primary objective for any artist is to ensure their music reaches the relevant decision-makers. However, the sheer volume of unsolicited submissions means that a strategic and targeted approach is essential for getting noticed.
Tailoring the Pitch: Finding the Right Fit
A critical step often overlooked is the importance of understanding a game’s aesthetic and target audience. Franchises like the NBA 2K series naturally lend themselves to hip-hop and rap, while narrative-driven titles such as Life is Strange often feature indie and folk artists. Rather than inundating every contact with a generic submission, artists should meticulously identify games and franchises that align with their musical style and thematic content.
Tom Mackay underscores this point: "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."
The Art of Outreach: Identifying and Connecting
Once a suitable game or franchise has been identified, the next step is to pinpoint the most relevant contacts. Ben Sumner notes that many artists neglect this crucial research phase. "Most people don’t want to do that work," he remarks. Artists can often find the names of audio directors and music supervisors by examining a game’s credits, or by conducting targeted searches on platforms like Google and LinkedIn. Information from YouTube video descriptions for game trailers can also reveal credited music supervisors.
For artists who lack the industry connections or experience to navigate this process, engaging professional representation is a viable option. Stephen Root advises artists to communicate their interest in video games to their management or agents, 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," Root recommends. "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."
Duncan Smith also advocates for the use of third-party sync representatives, particularly for artists without established label or publisher relationships. These specialists are adept at identifying commercial opportunities and ensuring music is presented to the right individuals. "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," Smith explains. "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 the Perfect Pitch: Personalization is Key
When submitting formal pitches, personalization is paramount. Alex Hackford stresses the importance of tailoring pitches to the specific individual and their work. "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 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."
Ben Sumner’s music consultancy, Feel For Music, receives an overwhelming volume of submissions daily – between 200 and 250 emails from bands, artists, labels, and publishers. Despite the sheer quantity, persistence and a targeted approach can yield results. "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 says. "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." He cites the example of Sufjan Stevens’ manager, whose persistent approach ultimately led to the artist’s music being featured in The Amazing Adventures of Captain Spirit, a spin-off of Life is Strange.
Technical Readiness: The Importance of File Formats
Beyond the music itself, the technical format of submissions is critical. For trailer placements, having access to "stems" – individual isolated tracks for each instrument – is essential for editors to rework and adapt the music. "Having your music in the right formats is really important," Sumner emphasizes. "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 should consider preparing rearranged versions of their tracks that are more conducive to trailer or in-game use. "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," Sumner suggests.
Timing and NDAs: Navigating the Development Cycle
The video game industry, particularly for new intellectual properties (IPs), can be challenging to penetrate due to strict Non-Disclosure Agreements (NDAs). Joe Henson of The Flight notes that unlike film and television, where production schedules are often more transparent, information about game development can be guarded until initial meetings. However, for established annual franchises like FIFA and Call of Duty, artists can often work backward from release schedules. Alex Hackford explains that music is typically integrated into the development process about eight to ten months before a game’s release. Artists who have unreleased music should also inform potential collaborators, as the opportunity to debut new material can be a significant draw for studios.
The Business of Licensing: Rights, Royalties, and Relationships
Licensing music for video games involves navigating complex legal frameworks. Artists and their representatives must have a clear understanding of music ownership rights, especially when multiple parties are involved. Alex Hackford notes, "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."
Beyond the initial placement fee, artists are encouraged to explore additional avenues for collaboration that can amplify their reach and the game’s promotional efforts. This can include cross-promotional activities, such as social media campaigns or even integrating album artwork into the game itself, as seen with DJ Shadow’s Driveclub collaboration. Stephen Root highlights the impact of artists who actively engage with game promotions. "One of the exclusives was a band called Broken Witt Rebels. 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, and music placements are often tiered based on an artist’s level of success. Root outlines a tiered fee structure: "I set three tiers of fees…. up-and-coming artists, artists in the middle ground of success, and then finally the big hitters."
The financial models for music in games have also evolved. While early Grand Theft Auto titles offered royalties on featured tracks, a shift towards fixed-rate licensing has become more prevalent. Ben Sumner explains, "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." Royalty payments are now rarer, though some exceptions exist, particularly for writers registered with certain European PROs or in the mobile gaming sector.
Duncan Smith advocates for realistic expectations and fostering positive working relationships. "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," he advises. "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 Unquantifiable Impact: Benefits Beyond the Fee
The influence of music placement in video games can be transformative. The iconic punk-rock band Goldfinger famously credited their track "Superman" with becoming their biggest song ever, thanks to its inclusion in Tony Hawk’s Pro Skater. For many artists, appearing in a popular game is considered a significant endorsement.
The phenomenon of artists debuting new music within video games offers an immediate and widespread platform, enabling them to reach millions of players instantaneously. Alex Hackford recounts how two original tracks by independent artist Lecrae for Marvel’s Spider-Man: Miles Morales led to a substantial increase in his streaming numbers. Similarly, Hideo Kojima’s Death Stranding showcased new music from a diverse range of artists, highlighting the symbiotic relationship between the two industries.
The COVID-19 pandemic has further accelerated this trend, with major updates like GTA V Online‘s December DLC adding 250 new tracks and high-profile collaborations between artists like Katy Perry and Post Malone with The Pokémon Company. Tom Mackay from Sony predicts a growing role for the gaming industry in shaping music industry strategies. "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," Mackay states. "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. 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."
This evolving synergy between music and video games, born from the early sonic experiments of titles like Wipeout, continues to redefine cultural landscapes, offering unprecedented opportunities for artists and enriching the interactive experiences for players worldwide. The symphony of pixels is only just beginning to reach its full crescendo.
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