The symbiotic relationship between video games and music has evolved from a groundbreaking novelty to a sophisticated industry in its own right. What began with iconic titles like Wipeout in the mid-1990s, which boldly licensed music from prominent British electronica acts such as Leftfield, Orbital, and The Chemical Brothers for its PAL version, has now blossomed into a multifaceted ecosystem where artists and game developers forge strategic partnerships. This evolution, accelerated by the digital age and further amplified by recent global events, presents unprecedented opportunities for both musical talent and game creators to reach new audiences and enhance creative visions.
In 1995, Wipeout on PlayStation didn’t just offer a revolutionary futuristic racing experience; it curated a sonic landscape that perfectly mirrored its neon-drenched, high-speed gameplay. Developed by Psygnosis and PlayStation, the game was lauded for its innovative fusion of gameplay and music, resonating deeply with a generation accustomed to the pulsating rhythms of nightclub culture. The inclusion of hard-hitting electronic tracks from some of the UK’s biggest names transformed the game’s soundtrack into a defining characteristic of its style, earning critical acclaim and leading to separate CD and vinyl releases. This pioneering approach set a new gold standard, demonstrating the profound impact that meticulously chosen music could have on a game’s overall appeal and cultural footprint. Subsequent titles in the Wipeout series continued this tradition, featuring artists like The Prodigy, Paul Van Dyk, and Sasha, solidifying the franchise’s enduring association with the mid-’90s British dance music scene.
Fast forward a quarter-century, and the strategic integration of music into video games has matured into a specialized field. Dedicated teams, comprising audio directors, music supervisors, and A&R experts, are now integral to game development. Their role extends beyond simply selecting tracks; they are tasked with understanding a game’s narrative, aesthetic, and target audience to curate a sonic identity that elevates the player experience. Music can be woven into the fabric of a game through in-game radio stations, curated playlists, or as dynamic background scores that adapt to gameplay. Furthermore, licensed tracks are frequently repurposed for crucial marketing materials, such as launch trailers, where they serve as powerful hooks to generate excitement and attract potential players.
The Shifting Landscape: Music in the Age of Digital Engagement
The global COVID-19 pandemic, which brought a standstill to much of the live music industry, has inadvertently accelerated the convergence of the music and gaming sectors. With concert halls and festivals shuttered, artists, managers, and record labels have increasingly turned to the interactive world of video games as a vital platform for fan engagement and discovery. This pivot has democratized access to new audiences, allowing musicians to connect with millions of players who might not otherwise encounter their work. However, navigating the intricacies of music synchronization—the process of licensing music for use in visual media—remains a complex and often opaque undertaking, with many crucial negotiations occurring behind closed doors.
To shed light on these evolving dynamics and offer guidance to aspiring artists, this article delves into the strategies and insights of industry professionals from both the gaming and music realms. Their collective wisdom aims to demystify the process of getting music featured in video games, empowering artists to navigate this burgeoning landscape effectively.
Unveiling the Decision-Makers: Who Curates Game Soundtracks?
The selection of music for video games is a nuanced process that varies depending on the scale and resources of the development studio. Larger, established studios often maintain in-house teams of experienced music supervisors and A&R professionals who collaborate with record labels to identify suitable tracks. These teams work to align musical choices with the game’s overarching artistic vision and market positioning.
For studios that may lack dedicated internal expertise, external music consultancy firms play a pivotal role. Companies like Feel For Music, helmed by director Ben Sumner, specialize in music discovery and licensing, assisting developers in finding tracks that meet specific creative briefs. Sumner elaborates on the diverse nature of these briefs, stating, "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." He further explains that larger projects involve a collaborative effort among audio directors, brand directors, and game directors, all contributing to the desired sonic identity. "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." This analytical approach ensures that musical choices are not solely based on personal preference but on their strategic value in enhancing the game’s appeal and brand identity.
The burgeoning growth of the video game industry has significantly eased the process of establishing collaborations with music stakeholders. Alex Hackford, head of A&R at Sony Interactive Entertainment America, notes the lowered barrier to entry for such conversations: "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 points to successful examples, such as the original music created for Marvel’s Spider-Man: Miles Morales. Four tracks were released simultaneously across digital service providers (DSPs), within the game, and as a physical release, accompanied by gameplay-driven music videos. Similar collaborative efforts were undertaken for Death Stranding in partnership with RMCA. Hackford confidently states, "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." This indicates a clear industry trend towards deeper, more integrated musical partnerships.
Strategies for Discovery: Getting Your Music Heard by Game Developers
While the desire to have one’s music featured in a video game is widespread, there is no single, foolproof method for achieving this goal. Duncan Smith, head of music at Sony Interactive Entertainment Europe, highlights the individualized nature of music selection: "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 ever-expanding catalog of music available to music supervisors, artists must adopt proactive strategies to increase their chances of discovery. The modern digital landscape offers a crucial advantage: making music widely accessible across multiple platforms. This includes streaming services like Spotify, Apple Music, Deezer, Google Play, and video platforms like YouTube.
Stephen Root, vice president of development creative services at Codemasters, relies heavily on Spotify for music discovery. "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 music supervisors to efficiently explore and share potential tracks with their teams.
The benefits of broad accessibility can manifest in unexpected ways. Jim Hodge, vocalist for the metal band Mastiff, recounted the surreal experience of being approached by CD Projekt Red for their track "Acid Breather" to be featured in the highly anticipated game 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 anecdote underscores the potential for independent artists to achieve significant exposure through strategic placements.
While being signed to a major record label can provide an advantage through dedicated A&R efforts aimed at music placement, it is by no means a prerequisite for success. 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 explains. "Figuring out which artists these labels are investing their time into and why they think are going to be really successful artists."
However, the opportunities extend to unsigned artists and those on independent labels. Root advocates for an open-minded approach: "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."
Duncan Smith echoes this sentiment, emphasizing that popularity metrics are not the sole determinant of a track’s suitability. "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 music conglomerates, the focus remains on the quality and fit of the music. Tom Mackay, Sony’s president of premium content A&R, clarifies the 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."
Beyond genre and popularity, a unique artistic identity can significantly enhance an artist’s prospects. Joe Henson, from 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." This emphasis on originality resonates with Duncan Smith, who believes 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."
Mastering the Approach: Crafting Effective Pitches
The ultimate goal for any artist is to have their music heard by the relevant decision-makers, but gaining access to their inboxes can be a significant hurdle. Strategic pitching is paramount to increasing the chances of an email being opened and considered.
Video games often possess distinct branding and thematic elements that lend themselves to specific musical genres. The NBA 2K series, for instance, is typically associated with hip-hop and rap, while titles like Life is Strange have cultivated a soundscape featuring indie and folk artists. Therefore, a targeted approach, rather than a broad dissemination of music, is far more effective. Tom Mackay stresses the importance of a seamless creative 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." He adds that significant time is invested in understanding a game director’s vision to meticulously identify bands worldwide that would be a perfect fit.
Identifying the most relevant contacts requires diligence. Perusing game credits for audio and music teams, and utilizing platforms like Google and LinkedIn to search for music supervisors and audio directors, are essential steps. Examining YouTube descriptions of launch trailers can also reveal credited music personnel.
For artists who find this initial research daunting, engaging professional representation can be a valuable strategy. Stephen Root encourages artists 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," Root 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."
Duncan Smith further recommends hiring a sync representative for artists serious about securing game placements, especially if their management or label lacks established relationships within the industry. "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 notes. "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, tailoring the approach to the specific recipient is crucial. Alex Hackford emphasizes the importance of referencing games that the contact has personally 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 concurs, highlighting the impact of personalized communication: "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."
Feel For Music’s Ben Sumner reports receiving between 200 and 250 emails daily from entities seeking to place music in games. He acknowledges the challenge of reviewing every submission but encourages persistence: "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 persistent yet focused approach was instrumental in securing Sufjan Stevens’ music for the Life is Strange spin-off, The Amazing Adventures of Captain Spirit.
Technical preparation is equally vital. Artists must 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 game elements. "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."
Furthermore, artists may consider rearranging their music to better suit trailer structures, which often favor intro-middle-ending formats over traditional verse-chorus arrangements. "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.
Navigating the Challenges of Music Licensing and Collaboration
Securing music placements in video games involves navigating a complex web of rights and agreements. Understanding who owns the various rights to one’s music, particularly for artists who have worked with labels in the past, is paramount. Alex Hackford notes the critical importance of resolving any ownership ambiguities early in the process: "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 core music placement, artists are encouraged to explore opportunities for added value and cross-promotion. "I love it if a manager says, the fee is whatever, but what else can you do for my artist," says Duncan Smith. He cites the example of DJ Shadow’s manager, who, during the development of Driveclub, negotiated for the game to feature the artist’s album artwork on in-game cars. This proactive approach fosters deeper engagement and can lead to mutually beneficial promotional activities.
Stephen Root highlights the impact of artists who actively participate in promoting their game placements. He recalls the band Broken Witt Rebels, featured in Dirt 5, who went "all in" by creating a music video using gameplay footage, a move that was highly appreciated by the development team.
Budgetary considerations are central to music curation. For Dirt 5, Root and his team managed their budget to incorporate a mix of debut tracks from emerging artists alongside established hits. "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," Root explains. "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."
While direct financial compensation for music placements in games is typically a fixed-rate arrangement, the potential for significant exposure and career advancement remains substantial. Ben Sumner notes a shift from earlier practices, such as those seen in early Grand Theft Auto titles, which offered royalties on tracks, leading to substantial earnings for artists. "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." He adds that royalty payments are now rare, with exceptions often found in mobile games or for writers registered with specific European performance rights organizations.
Duncan Smith advises artists to maintain realistic expectations regarding financial 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." A positive working relationship can foster repeat business and long-term partnerships, which can be more lucrative than a one-off fee.
The Transformative Impact: Benefits of Game Music Integration
The impact of having music featured in a video game can be profoundly transformative for an artist’s career. John Feldmann, lead singer of the punk-rock band Goldfinger, famously attributed their song "Superman" becoming their "biggest song we’ve ever written" to its inclusion in Tony Hawk’s Pro Skater. For many, such placements serve as a significant career milestone and a testament to their artistic recognition.
While game music placements are more commonplace today than two decades ago, the recent trend of artists debuting new music within video games offers an immediate avenue to reach millions of players. Alex Hackford highlights the substantial impact on independent artist Lecrae, whose streaming numbers saw a significant surge following the release of two original tracks for Marvel’s Spider-Man: Miles Morales. "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."
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, despite its challenges, has spurred further integration, evident in the massive influx of new tracks in GTA V Online‘s December DLC and collaborations between artists like Katy Perry and Post Malone with The Pokémon Company.
Tom Mackay of Sony anticipates a growing influence of the gaming industry on 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." He attributes this to both the market effectiveness of successful collaborations and the inherent joy and excitement they bring to artists and fans alike. Mackay 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 gaming platforms continue to evolve into central hubs for cultural exchange and discovery, their role in shaping the future of music promotion and artist development is set to expand exponentially.
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