In the mid-1990s, a revolutionary fusion of cutting-edge gameplay and electrifying electronic music set a new benchmark for the video game industry. The 1995 release of Wipeout for the PAL version of PlayStation, developed by Psygnosis and published by Sony, wasn’t just a groundbreaking futuristic racing simulator; it was a cultural phenomenon that seamlessly integrated the pulsating beats of British electronica with high-speed, neon-drenched gameplay. Tracks from seminal artists like Leftfield, Orbital, and The Chemical Brothers provided the sonic backdrop as players navigated treacherous, gravity-defying circuits, creating an immersive experience that resonated deeply with a generation familiar with the nightclub scene. This innovative approach to game audio not only garnered critical acclaim but also cemented Wipeout‘s status as a defining title of its era. The game’s success spurred separate CD and vinyl soundtrack releases, and subsequent installments in the Wipeout series continued this tradition, featuring artists such as The Prodigy, Paul van Dyk, and Sasha, further solidifying the franchise’s inextricable link to the mid-’90s British dance music scene. While not the first game to incorporate licensed music, Wipeout undeniably elevated the practice, demonstrating the profound impact that meticulously curated soundtracks can have on a game’s identity and commercial success.
Fast forward a quarter-century, and the strategic integration of 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, are now integral to game development studios. Their role is to meticulously select and license music that not only complements the gameplay but also enhances the overall player experience. The application of this music varies widely, from curated in-game radio stations and playlists found in titles like Grand Theft Auto and Watch Dogs, to its strategic use in promotional materials such as launch trailers and marketing campaigns. This symbiotic relationship has become increasingly vital, particularly in the wake of global events that have impacted traditional live music venues.
The COVID-19 pandemic, which brought the majority of live performances to a standstill, has prompted a significant shift in how artists and their representatives engage with audiences. With concert halls and festival grounds temporarily silenced, the gaming industry has emerged as a vital new frontier for musicians seeking to connect with existing and new fan bases. Managers, agents, and record labels are actively exploring opportunities within this dynamic digital landscape. However, securing a place for an artist’s music within a video game is far from a simple endeavor. Crucial discussions surrounding music synchronization – the process of integrating music with visual media – often occur behind closed doors, making the path to inclusion a complex one for aspiring artists. To demystify this process, industry professionals from both the gaming and music sectors have shared insights and practical advice for artists aiming to have their music featured in video games.
The Architects of Audio: Who Curates Game Soundtracks?
The decision-making process for music selection within video games is multifaceted and often depends on the scale and resources of the development studio. Larger studios frequently maintain in-house teams of experienced music supervisors and A&R professionals who collaborate with record labels to identify suitable tracks. These internal teams work to align musical choices with the game’s overarching artistic vision and target demographic. In cases where studios may lack dedicated in-house expertise, they often engage external music consultancy firms, such as Feel for Music. These specialized companies offer services ranging from music discovery to licensing negotiations, ensuring that the selected music precisely meets the specific creative briefs provided by the game developers.
Ben Sumner, director at Feel for Music, highlights the immense variability of these briefs. "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 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 further emphasizes the critical role of objectivity in their work. "A big part of our role is objectivity, because people’s music tastes are so subjective," he notes. "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." This analytical approach ensures that music choices are not solely driven by personal preference but are strategically aligned with the game’s market appeal and brand identity.
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 managers. Alex Hackford, head of A&R at Sony Interactive Entertainment America, observes, "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."
Hackford cites examples of successful integrations. "On Spider-Man: Miles Morales we did four original tracks for that game that were released simultaneously on DSPs [digital service providers], in-game and as a physical release. We did music videos for each track that were all gameplay videos, and we did similar things in our partnership with RMCA 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." These integrated campaigns demonstrate a sophisticated understanding of how music can be leveraged across multiple platforms to maximize an artist’s reach and a game’s promotional impact.
Unlocking Discovery: Getting Your Music Heard by Game Developers
For musicians, the ultimate goal is widespread recognition, and while there’s no singular "magic formula" for getting music into video games, strategic accessibility is paramount. Duncan Smith, head of music at Sony Interactive Entertainment Europe, underscores the diversity of needs: "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 almost infinite volume of music available to music supervisors, artists can significantly increase their chances of discovery by implementing several key strategies. Proactive efforts are essential; music supervisors are not passively waiting for submissions. Ensuring music is available across a broad spectrum of digital platforms – including Spotify, Apple Music, Deezer, Google Play, and YouTube – dramatically increases the likelihood of it being found by the right ears.
Stephen Root, vice president of development creative services at Codemasters, relies heavily on streaming platforms. "I do use Spotify a lot because it’s nice and easy to use while also having a great interface," he shares. "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 ease of access allows for rapid playlist creation and dissemination of musical ideas among project stakeholders.
The benefits of widespread availability can lead to serendipitous opportunities. Jim Hodge, vocalist for the metal band Mastiff, recounted how the band was unexpectedly 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 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." This experience underscores the advantage of having new material readily available and the legal flexibility that comes with being outside of exclusive label contracts.
Being affiliated with a major record label can provide a significant advantage, as labels often have dedicated teams actively working to place their artists’ music in various media, including video games. Stephen Root regularly attends specialized listening sessions hosted by record labels, where he gains insight into emerging artists and their future projects. "I spend most of my time working on who’s up and coming," Root 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 pursuit of game placements is not exclusively the domain of signed artists. Independent and unsigned musicians also have ample opportunities. Root remains open to new 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, reassuring 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." This focus on the intrinsic quality and thematic fit of the music, rather than purely on commercial metrics, levels the playing field for emerging talent.
Tom Mackay, Sony’s president of premium content A&R, reinforces this inclusive approach. "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." This commitment to artistic merit over label affiliation is crucial for fostering a diverse and vibrant game soundtrack landscape.
Crafting Your Pitch: Strategies for Success
A strong first impression is vital. Developing a unique artistic identity and sound can be a significant differentiator. Joe Henson of the music composition duo The Flight emphasizes the importance of authenticity: "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." Finding and cultivating a distinctive musical voice is key to standing out in a crowded market.
Duncan Smith concurs, noting that artists with a singular sound are more likely to make a lasting impact. "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." Building genuine relationships and demonstrating a deep understanding of the creative process can be more effective than generic outreach. "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."
The ultimate objective is to ensure your music reaches as many relevant decision-makers as possible. However, crafting an email that captures attention amidst a deluge of submissions can be a significant hurdle. Targeted outreach is far more effective than mass emailing. Many video games are meticulously branded to align with specific musical genres or styles. For instance, the NBA 2K series is renowned for its hip-hop and rap soundtracks, while narrative-driven games like Life is Strange often feature indie and folk artists. Therefore, it is crucial for artists to research which titles or franchises would be the most natural fit for their music, rather than indiscriminately sending their work to every contact.
Tom MacKay of Sony highlights the importance of this alignment: "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 deep dive into a game’s aesthetic and thematic core is essential for identifying the right musical matches.
Ben Sumner advises that taking the time to research relevant contacts is a key differentiator. "Most people don’t want to do that work," he observes. Artists can typically identify key individuals by examining game credits for audio and music department personnel. Online platforms like Google and LinkedIn are also valuable resources for searching for music supervisors and audio directors. Furthermore, examining the descriptions of game launch trailers on YouTube can often reveal credits for the music used.
For artists who feel unsure about navigating this landscape, engaging professional representation is a viable option. Stephen Root encourages musicians to communicate their interest in video game placements to their management or agents. "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. 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 instances where management or labels may lack the necessary experience, hiring a sync representative is a recommended strategy. These professionals specialize in identifying commercial opportunities and ensuring their clients’ music is presented to the appropriate industry contacts. 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."
When preparing formal pitches, Alex Hackford stresses the importance of tailoring the submission to the specific recipient. "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." Demonstrating an understanding of a particular game or franchise the contact is involved with can significantly enhance the impact of a pitch.
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." This highlights the inefficiency of mass, impersonal outreach and the value of personalized, targeted communication.
Feel for Music, a prominent music consultancy, receives an estimated 200 to 250 emails daily from artists, labels, and publishers seeking game placements. Ben Sumner acknowledges the sheer volume makes it challenging to review every submission. "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. 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 emphasizes the importance of polite persistence and ensuring follow-up communications are professional and timely. Sumner recounted how this approach from Sufjan Stevens’ manager was instrumental in securing his music for the Life is Strange spin-off, The Amazing Adventures of Captain Spirit.
Furthermore, having music available in various file formats is crucial for facilitating its use. For trailer submissions, for instance, access to "stems" – individual instrumental tracks – is essential for editors to remix and adapt the music. "Having your music in the right formats is really important," 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." Similarly, artists can enhance their music’s utility by providing versions specifically structured for in-game placement or advertising, such as intro-only, middle sections, or outros, rather than relying on traditional verse-chorus song structures.
The Flight’s Joe Henson notes that the games industry can be particularly challenging to penetrate compared to film and television, where production schedules and personnel are often more transparent. "In games, you sometimes won’t know what people are working on until you have that initial big meeting. We’ll finish working with Ubisoft and have no idea what they’re doing next. Work comes completely out of the blue, and because of all the NDAs, video games can sometimes be difficult to get into." Despite these challenges, artists can strategically leverage the release cycles of annual franchises like FIFA and Call of Duty to anticipate future music needs. Alex Hackford suggests that studios typically begin music selection and pitching processes approximately eight to ten months before a game’s release. Artists should also consider aligning their own music release plans with these timelines, as studios are often keen to feature debut tracks.
Navigating the Music Brief: Legalities and Added Value
Licensing music for video games involves intricate legal considerations, particularly concerning music ownership. Artists, especially those signed to labels or with prior label experience, must have a clear understanding of who holds the rights to their music. Ambiguities in ownership can derail potential placements, as Alex Hackford illustrates: "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." Addressing ownership issues proactively is paramount.
Beyond the music itself, artists and their representatives are encouraged to explore opportunities for additional value creation. Tom MacKay advocates for a collaborative approach: "I love it if a manager says, the fee is whatever, but what else can you do for my artist. DJ Shadow’s manager had that conversation when I was working on Driveclub – we ended up skinning cars in the game with his album artwork, and that was purely from the manager being interested and asking questions that got me thinking and talking to the team. Always ask yourself ‘what else is out there’ and if you can you do any cross-promotion." This proactive engagement can lead to innovative collaborations, such as integrating album art into game assets or participating in co-branded marketing initiatives.
Stephen Root commends artists who go the extra mile. He cites the example of the band Broken Witt Rebels, featured in Dirt 5, who not only contributed their music but also created a music video using gameplay footage. "They didn’t just come in; they went all in and even made a music video using gameplay footage. We loved that." Such enthusiastic engagement can foster stronger relationships and increase the likelihood of future collaborations.
The budgeting for game soundtracks is a critical factor. Stephen Root explains his approach for Dirt 5: "I look at the overall budgeting from the start and then I think about that and look at how many tracks it could potentially give us, as well as how that would break down across the game. I set three tiers of fees in terms of what I would look at. The way that broke out was splitting it between up-and-coming or newer artists, artists that were in the sort of middle ground of success, and then finally the big hitters." This tiered approach allows for a diverse soundtrack that balances established artists with emerging talent.
While music placements can be career-defining, it’s important to manage expectations regarding financial compensation. In the early days of games like Grand Theft Auto, royalty agreements were more common, benefiting artists significantly. However, Ben Sumner notes a fundamental shift: "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." While royalty-based deals are now rare, exceptions may exist for writers registered with specific European performance rights organizations or in the context of mobile games with limited upfront budgets.
Duncan Smith advises a pragmatic outlook: "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. 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." Building a reputation for professionalism and reliability can lead to sustained career opportunities.
The Enduring Impact: Benefits of Game Music Integration
The impact of having music featured in a video game can be transformative. John Feldmann, lead singer of the punk-rock band Goldfinger, famously stated that their song "Superman" became their "biggest song we’ve ever written" due to its inclusion in Tony Hawk’s Pro Skater. For many bands, such placements serve as a prestigious "badge of honour." While music integration is now commonplace, the recent trend of artists debuting new material within games allows them to instantly reach millions of players.
Alex Hackford highlights the significant impact on independent artists. "For Marvel’s Spider-Man: Miles Morales on the PS5 we did two original tracks with an artist named Lecrae, whose streaming numbers jumped significantly on the back of those two tracks alone. He [Lecrae] is an independent artist at this stage, so that jump in audience and reach from having access to a game like Spider-Man: Miles Morales is substantial." This demonstrates the power of games as a platform for artist development and audience expansion.
The symbiotic relationship between the gaming and music industries is further exemplified by Hideo Kojima’s Death Stranding, which featured new music from a diverse range of artists including Bring Me The Horizon, CHVRCHES, Major Lazer, and Khalid. Despite the challenges posed by the COVID-19 pandemic, the gaming industry’s embrace of music has accelerated. Titles like GTA V Online have seen massive music updates, and artists like Katy Perry and Post Malone have collaborated with major entertainment franchises like The Pokémon Company.
Tom Mackay of Sony asserts that the gaming industry’s influence on the music industry 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. 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 gaming platforms continue to evolve into central hubs for cultural interaction and discovery, their role in shaping musical trends and artist careers is poised to expand dramatically.
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