In 1995, Sony’s PlayStation revolutionized the gaming landscape with Wipeout, a futuristic racing simulator that dared to pair its high-octane gameplay with the pulsating beats of the UK’s burgeoning electronica scene. This bold move, licensing tracks from pioneers like Leftfield, Orbital, and The Chemical Brothers, transformed Wipeout from a mere game into a cultural phenomenon, resonating deeply with a generation of club-goers. The integration of hard-hitting electronic music with neon-drenched racetracks and lightning-fast spacecrafts was a masterstroke, setting a new gold standard for how music could enhance the immersive experience of video games. This groundbreaking approach not only garnered critical acclaim but also spawned separate soundtrack releases and paved the way for subsequent Wipeout titles to feature an eclectic mix of artists including The Prodigy, Paul Van Dyk, and Sasha. Wipeout‘s legacy is inextricably linked to the mid-90s British dance music explosion, proving that the right music, in the right game, could achieve extraordinary synergy.
Fast forward a quarter-century, and the art of synchronizing music with video games has evolved into a sophisticated industry in its own right. Dedicated teams, comprising audio directors, music supervisors, and A&R experts, are now integral to game development, meticulously selecting tracks that complement and elevate the player experience. The application of this licensed music is diverse, ranging from curated in-game radio stations, famously featured in titles like Grand Theft Auto and Watch Dogs, to instrumental and vocal edits for promotional materials such as launch trailers.
The COVID-19 pandemic has further underscored the significance of this symbiotic relationship. With live music venues and performances largely shuttered, artists and their management are increasingly turning to video games as a vital platform to connect with new audiences and generate revenue. This shift has intensified the demand for music synchronization, a process often shrouded in the complexities of behind-the-scenes negotiations. To demystify this intricate world, experts from both the gaming and music industries offer invaluable insights into how aspiring artists and bands can navigate the path to getting their music featured in the next blockbuster title.
The Gatekeepers: Who Decides What Music Scores Your Game?
The selection process for music within video games is a multifaceted endeavor, often involving in-house expertise at larger development studios or external music consultancy firms. Major studios frequently employ dedicated music supervisors and A&R specialists who collaborate closely with record labels to identify suitable tracks. Alternatively, many studios partner with specialized music consultancies, such as Feel for Music, to assist in music discovery and the complex process of licensing.
Ben Sumner, director at Feel For Music, elaborates on the varied nature of these collaborations. "The briefs we receive can vary enormously depending on the game and the team you’re working with," he explains. "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. 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 continues. "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 escalating prominence 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 this trend. "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," he states. "The ability for us to have more buy-in from partners in projects is getting a lot easier."
Hackford cites recent successful collaborations as examples. "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."
Unlocking Discovery: Strategies for Getting Your Music Heard
The desire for an artist’s music to reach a wide audience is universal, but the path to securing a place in a video game soundtrack is rarely straightforward. Duncan Smith, head of music at Sony Interactive Entertainment Europe, highlights the individualized nature of game 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 going to 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 are constantly seeking fresh talent. Proactive effort is key. "Music supervisors don’t just sit there waiting for music to come their way," Smith advises. Ensuring your music is accessible across major streaming platforms—Spotify, iTunes, Deezer, Google Play, and YouTube—significantly increases the chances of discovery.
Stephen Root, Vice President of Development Creative Services at Codemasters, relies heavily on 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."
The benefits of widespread availability can manifest in unexpected ways. Jim Hodge, vocalist for the metal band Mastiff, shared his surprise when CD Projekt Red approached them for Cyberpunk 2077. "We honestly thought it was a wind-up until we started speaking to them properly," he 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 dedicated resources for music placement, it is not a prerequisite for success. Independent artists and those on smaller labels also have significant opportunities. Labels often host specialized listening sessions, providing industry professionals like Root with early access to emerging talent. "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 they are going to be really successful artists."
Root remains an advocate for new artists, encouraging them to submit their work. "I always want to give people a shot," he says. "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 Smith echoes this sentiment, emphasizing that a large fan base is not always the deciding factor. "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," he states. "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."
Tom Mackay, Sony’s President of Premium Content A&R, clarifies that while there’s a natural inclination to feature artists from within the Sony Music umbrella, the pursuit of exceptional music transcends corporate affiliations. "At the end of the day, good music is good music," he asserts. "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."
From a composer’s perspective, Joe Henson of the musical duo The Flight stresses the importance of artistic individuality. "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."
Smith concurs, suggesting that a distinctive 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," he recommends. "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: Making Your Pitch Count
The ultimate goal for any artist is to get their music heard by the right decision-makers, a process that can often feel like navigating a labyrinth of email inboxes. To improve the chances of a successful pitch, a strategic approach is paramount.
Many video games are meticulously branded to align with specific musical styles or genres. For instance, the NBA 2K series is known for its integration of rap and hip-hop, while the Life is Strange franchise often features indie and folk artists. Rather than indiscriminately sending music to numerous contacts, it’s crucial to identify which titles or franchises would be the most suitable fit for your sound.
"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," explains Sony’s Mackay. "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."
Once a potential fit is identified, researching the relevant contacts becomes the next logical step. As Sumner points out, "Most people don’t want to do that work," suggesting that this diligence can provide a significant advantage. Names of individuals in audio and music departments can often be found in game credits. Professional networking platforms like LinkedIn, coupled with targeted Google searches, can help identify music supervisors and audio directors. For those who discover music they admire in launch trailers or promotional videos, examining the YouTube video descriptions can often reveal credited individuals.
For artists uncertain about where to begin, engaging professional representation is a viable option. 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," 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 may lack specific expertise in music synchronization, hiring a sync representative is a recommended strategy. These professionals specialize in identifying commercial opportunities and ensuring their clients’ music reaches the appropriate industry contacts. Duncan Smith advocates for this approach, particularly for artists serious about securing game placements. "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," he 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 individual is paramount. Alex Hackford emphasizes the importance of referencing games that the contact has directly worked on, rather than broader, less relevant projects. "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 going to be as relevant to their work."
Duncan Smith echoes this sentiment, stressing the value 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, a busy music consultancy, reportedly receives between 200 and 250 emails daily from artists and labels seeking placements. Ben Sumner acknowledges the sheer volume, stating, "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." He adds, "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, he notes, was instrumental in securing Sufjan Stevens’ music for the Life is Strange spin-off, The Amazing Adventures of Captain Spirit.
Ensuring music is available in various file formats is also critical. For trailer placements, access to isolated instrumental tracks ("stems") and complete stereo files is often required, enabling editors to rework the music as needed. "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 are encouraged to consider re-arranging their music to better suit in-game placement or trailer synchronization. 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."
The Flight, a musical composition duo, notes that the video game industry can be particularly challenging to penetrate. Joe Henson observes, "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. 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."
While new intellectual properties (IPs) present a steeper climb, annual franchises like FIFA and Call of Duty offer a more predictable timeline. 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." Artists can strategically align their own music release plans with these established schedules. Moreover, offering unreleased tracks for debut in a game can be a significant draw for developers seeking exclusive content.
Navigating the Labyrinth: Meeting Music Briefs and Beyond
Licensing music involves intricate legalities, particularly concerning ownership rights. Artists signed to labels or with past label involvement must have a clear understanding of who holds the rights to their work. Any ambiguities in ownership can derail potential placements, as Alex Hackford points out: "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 going to 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 securing a placement, artists are encouraged to consider how they can add further value to a project. This can involve collaborative efforts with game marketing teams, such as integrating album artwork into in-game assets. Tom Mackay recounts a successful collaboration with DJ Shadow’s manager for Driveclub, where the artist’s album artwork was featured on in-game cars, a direct result of proactive questioning about additional promotional opportunities. "Always ask yourself ‘what else is out there’ and if you can do any cross-promotion," Mackay advises.
Stephen Root highlights the impact of artists going the extra mile. For Dirt 5, the band Broken Witt Rebels not only contributed music but also created a music video using in-game footage, a gesture that resonated positively with the development team. "They didn’t just come in; they went all in and even made a music video using gameplay footage. We loved that."
Careful planning is essential, especially when coordinating unreleased music with game launches. Root emphasizes the importance of understanding the budget from the outset. For Dirt 5, a tiered fee structure was implemented, categorizing artists into "up-and-coming," "middle ground of success," and "big hitters." This approach allowed for a curated mix of debut tracks and established hits within the game’s soundtrack.
While music placements can significantly boost an artist’s profile, the financial compensation landscape has evolved. In the early days of Grand Theft Auto, royalties were offered, leading to substantial earnings for artists. However, Ben Sumner notes a shift towards fixed-rate payments for most placements today, although exceptions exist, particularly for writers registered with certain European performance rights organizations or in the realm of mobile gaming.
Duncan Smith advocates for realistic expectations regarding financial returns. "Try to have realistic expectations about a deal," he urges. "Don’t get crazy imagining you’re going to 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 positive working relationships can lead to repeat business and long-term collaborations, proving more lucrative than a single, one-off fee.
The Enduring Impact: Benefits of Game Music Placements
The impact of music synchronization in video games can be transformative. John Feldmann, lead singer of Goldfinger, famously described their track "Superman" as their "biggest song we’ve ever written" due to its prominent placement in Tony Hawk’s Pro Skater. For many artists, inclusion in such iconic titles serves as a significant career milestone.
While music placements are now more common, the recent trend of artists debuting new music within games offers an immediate avenue to reach millions of players. Alex Hackford shared an example from Marvel’s Spider-Man: Miles Morales, where two original tracks by independent artist Lecrae saw a substantial jump in streaming numbers following the game’s release. "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 continues to flourish. Hideo Kojima’s Death Stranding featured a curated soundtrack from prominent artists, and the COVID-19 pandemic has only accelerated this trend, with titles like GTA V Online incorporating vast numbers of new tracks and artists collaborating with brands like The Pokémon Company.
"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," predicts Tom Mackay. "I think the reasons for that are 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 the lines between entertainment mediums continue to blur, the integration of music within video games stands poised to become an even more influential force in shaping popular culture.
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