The symbiotic relationship between music and video games has evolved dramatically since the groundbreaking integration of electronic music into the 1995 PlayStation title, Wipeout. This futuristic racing simulation, developed by Psygnosis, famously partnered with leading UK electronica artists like Leftfield, Orbital, and The Chemical Brothers for its PAL release. The pulsating beats and atmospheric soundscapes proved a perfect sonic accompaniment to the game’s high-speed, neon-drenched races, creating a defining characteristic that resonated with players and critics alike. This innovative approach not only solidified Wipeout’s iconic status but also set a new benchmark for how music could enhance the immersive experience of interactive entertainment. The success of Wipeout paved the way for subsequent entries in the series to feature acclaimed artists such as The Prodigy, Paul Van Dyk, and Sasha, cementing the series’ association with the vibrant mid-’90s British dance music scene. While not the first game to incorporate licensed tracks, Wipeout’s masterful curation demonstrated the potent synergy achievable when music and gameplay are thoughtfully aligned.
Fast forward to the present day, and the art of integrating music into video games has burgeoned into a sophisticated industry in its own right. Dedicated teams, comprising audio directors, music supervisors, and A&R specialists, are now integral to game development studios. Their roles involve meticulously selecting tracks that complement a game’s narrative, atmosphere, and target audience. This music can manifest in various forms, from curated in-game radio stations and playlists, reminiscent of Grand Theft Auto and Watch Dogs, to being creatively sampled and edited for promotional materials like launch trailers.
The COVID-19 pandemic has further amplified the importance of video games as a vital platform for artists. With live performances largely curtailed, musicians, managers, and record labels are increasingly turning to the gaming world to connect with new fan bases and explore innovative revenue streams. However, navigating this lucrative landscape can be challenging, with many crucial discussions surrounding music synchronization – the process of integrating music with visual media – occurring behind closed doors. To demystify this process, industry experts from both the gaming and music sectors offer insights into how artists can successfully place their music within video games.
The Architects of Game Soundtracks: Who Decides What Music Features?
In larger game development studios, in-house music supervisors and A&R experts collaborate with record labels to identify suitable musical talent. For studios that opt for external assistance, specialized music consultancy firms like Feel for Music play a crucial role. Ben Sumner, director at Feel for Music, explains that the process of music selection is highly tailored to each project. "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 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."
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. 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 Sony’s work on Spider-Man: Miles Morales as an example, where four original tracks were released simultaneously across digital service providers, in-game, and physically, accompanied by gameplay music videos. Similar comprehensive approaches were taken for partnerships like the one 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," Hackford adds.
Unlocking Discovery: Getting Your Music Heard by Game Developers
While the desire to have one’s music reach a wide audience is universal, there is no singular, foolproof method for securing a spot on a video game soundtrack. Duncan Smith, Head of Music at Sony Interactive Entertainment Europe, explains that "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?"
Given the vast ocean of music available to supervisors, artists can significantly enhance their chances of discovery through proactive strategies. Music supervisors actively seek out new talent, rather than passively waiting for submissions. Therefore, ensuring your music is accessible across major streaming platforms such as Spotify, Apple Music, Deezer, Google Play, and YouTube is paramount. Stephen Root, Vice President of Development Creative Services at Codemasters, highlights Spotify’s utility: "I do use Spotify a lot because it’s nice and easy to use while also having a great interface. 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."
Broad accessibility can lead to serendipitous opportunities. Jim Hodge, vocalist for the metal band Mastiff, shared his surprise when CD Projekt Red approached them for a track in Cyberpunk 2077. "We honestly thought it was a wind-up until we started speaking to them properly," he recalled. "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 not a prerequisite, being signed to a major record label can offer advantages, as labels often have dedicated teams working on securing placements for their artists. Stephen Root regularly attends specialized listening sessions with record labels, providing him with early access to unreleased music and insights into artists’ future plans. "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 gaming industry is increasingly open to independent artists. Opportunities exist for unsigned musicians 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 echoes this sentiment, advising bands not to be deterred by a smaller fanbase. "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."
Furthermore, exclusivity to a particular label is not an insurmountable barrier. Tom Mackay, Sony’s President of Premium Content A&R, 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 Power of Originality
In a competitive landscape, making a strong first impression is crucial, and a unique musical identity can be a significant asset. Joe Henson of the music composition duo The Flight emphasizes the importance of artists finding their distinct voice. "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 artists with a singular sound are more likely to leave 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." He further elaborates, "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."
Mastering the Approach: Strategic Engagement with Game Developers
The ultimate goal for artists is to ensure their music reaches the relevant decision-makers within the game industry. However, securing attention through email outreach can be a formidable challenge. A strategic approach is essential. Many video games are designed with specific musical aesthetics in mind. For instance, the NBA 2K series typically features hip-hop and rap, while games like Life is Strange lean towards indie and folk genres. Rather than sending unsolicited music to a broad list of contacts, it is vital to identify which game titles or franchises would be the most suitable fit for an artist’s sound.
Tom Mackay of Sony stresses the importance of a cohesive 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. 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."
Taking the time to research and identify the most relevant contacts demonstrates initiative, a trait that often sets candidates apart. "Most people don’t want to do that work," Sumner notes. Artists can often find the names of audio and music team members by examining a game’s credits. Professional networking platforms like LinkedIn and general search engines can also be invaluable for locating music supervisors and audio directors. Furthermore, paying attention to credits in launch trailers or promotional videos on platforms like YouTube can reveal key personnel.
For artists unsure of where to begin, seeking professional assistance is a viable option. Stephen Root encourages musicians to discuss their interest in video games with their management or agents, who can then proactively explore placement 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 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 cases where management or labels may lack specific expertise in music synchronization for games, hiring a sync representative is recommended. These professionals specialize in identifying commercial opportunities and pitching music to the right individuals. 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."
Crafting Compelling Pitches: Tailoring Your Approach
When making formal pitches, it is crucial to tailor the approach to the specific recipient. Alex Hackford emphasizes the importance of demonstrating a genuine understanding of the game or series being pitched. "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 agrees: "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 of Feel for Music receives a substantial volume of daily submissions, between 200 and 250 emails, from artists, labels, and publishers seeking placements. He notes, "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 persistence, exemplified by Sufjan Stevens’ manager’s approach, ultimately led to his music being featured in the Life is Strange spin-off, The Amazing Adventures of Captain Spirit.
Technical Readiness: The Importance of File Formats and Stems
Beyond the artistic presentation, technical considerations are vital. Artists must ensure their music is available in various file formats. For trailer placements, having access to "stems" – isolated tracks for each instrument – is essential, alongside complete stereo files. This allows for flexible editing and manipulation of 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."
Furthermore, artists may consider re-arranging their tracks to better suit the structure of in-game placements or advertisements. 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 games industry can be particularly challenging to penetrate, whether as a composer or an artist seeking placement. Joe Henson from The Flight 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."
However, established annual franchises like FIFA and Call of Duty offer predictable release schedules, allowing artists to align their own music release plans accordingly. Alex Hackford explains that development for music integration typically occurs eight to ten months prior to a game’s release. "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 sitting on unreleased material should also inform potential collaborators. Studios often welcome the opportunity to debut new music, offering a significant promotional boost to both the artist and the game.
Navigating Licensing and Maximizing Collaboration
Licensing music involves navigating complex rights and ownership structures. Artists, particularly those signed to labels, must have a clear understanding of who owns the various rights to their music. Unresolved ownership issues can derail potential placements. 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 securing a placement, artists are encouraged to explore additional ways to add value to a project and maximize the collaboration. This can involve engaging with the game’s social media platforms or contributing to promotional activities. Duncan Smith advocates for this proactive 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."
Stephen Root highlights how the band Broken Witt Rebels went "all in" for Dirt 5, even creating a music video using gameplay footage, which was highly appreciated by the development team.
Budgetary Realities and Compensation Models
Music placement in video games requires careful budgeting and planning, especially when coordinating unreleased tracks with game launches. Stephen Root outlines his approach to curating soundtracks for Dirt 5, balancing emerging artists with established hits by employing a tiered fee structure. "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."
While significant financial windfalls from single placements are uncommon, the benefits can be substantial. Historically, games like Grand Theft Auto offered royalties on tracks, leading to considerable earnings for early contributors. However, Ben Sumner observes a shift towards fixed-rate licensing agreements, with royalties becoming a rarer occurrence, though exceptions exist, particularly in mobile gaming or for writers registered with specific European performing rights organizations.
Duncan Smith advises realistic expectations: "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." Building a positive working relationship can lead to repeat business and long-term collaborations, which are often more financially rewarding than one-off fees.
The Enduring Impact: Benefits of Game Music Placements
The impact of a well-placed song in a video game can be transformative. John Feldmann, lead singer of Goldfinger, famously stated that their song "Superman" became their "biggest song we’ve ever written" following its inclusion in Tony Hawk’s Pro Skater. For many artists, appearing in such iconic titles is akin to receiving a "badge of honour."
While game music placements are now more prevalent than two decades ago, the recent trend of artists debuting new music within games allows them to instantly connect with millions of players worldwide. Alex Hackford shares an example from Marvel’s Spider-Man: Miles Morales, where two original tracks by independent artist Lecrae saw a significant surge in streaming numbers, demonstrating the substantial reach a game placement can provide.
The symbiotic relationship between the gaming and music industries is further evidenced by collaborations like the one in Hideo Kojima’s Death Stranding, which featured new music from prominent artists. The COVID-19 pandemic has only accelerated this trend, with major updates like GTA V Online’s addition of 250 new tracks and high-profile collaborations between artists like Katy Perry and Post Malone with The Pokémon Company.
Tom Mackay of Sony anticipates 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. 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."
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