The symbiotic relationship between video games and music has evolved from a niche integration to a powerhouse industry in its own right, transforming how artists connect with audiences and how developers craft immersive experiences. What began with groundbreaking soundtracks like that of the 1995 PlayStation title Wipeout has blossomed into a sophisticated ecosystem where music supervision, A&R for gaming, and artist discovery are critical components of game development and music marketing strategies. This evolution, accelerated by global events and the sheer growth of the gaming sector, presents unprecedented opportunities and challenges for musicians and the industry at large.
From Niche Integration to Global Phenomenon: A Sonic Evolution
The early days of video game music were largely defined by chiptunes and original compositions. However, the mid-1990s marked a pivotal shift. The Wipeout series, released on the PAL version of PlayStation in 1995, famously licensed tracks from prominent UK electronica artists such as Leftfield, Orbital, and The Chemical Brothers. This decision was not merely about background noise; it was a deliberate fusion of futuristic racing visuals with the pulsating beats of the era’s burgeoning dance music scene. Psygnosis and PlayStation essentially created a virtual nightclub for a generation, with the high-octane gameplay perfectly complementing the hard-hitting electronic soundscape.
The success of Wipeout‘s soundtrack was undeniable. Critically acclaimed at the time, it became a defining characteristic of the game’s stylish identity, leading to separate CD and vinyl releases. This pioneering approach paved the way for subsequent installments in the Wipeout franchise to feature music from legendary acts like The Prodigy, Paul van Dyk, and Sasha, solidifying the series’ association with the golden age of mid-’90s British dance music. While not the absolute first game to feature licensed tracks, Wipeout undeniably set a new benchmark, demonstrating the potent synergy achievable when music is meticulously chosen to enhance a game’s core experience.
Fast forward over two and a half decades, and this strategic integration of music has burgeoned into a multi-billion dollar industry. Dedicated teams now populate game development studios and specialized music consultancies, comprising audio directors, music supervisors, and A&R experts. Their collective mission is to meticulously select and integrate music that not only complements but elevates the player’s journey. The application of this music is diverse, ranging from curated in-game radio stations found in franchises like Grand Theft Auto and Watch Dogs, to the strategic deployment of tracks and stems in promotional materials such as launch trailers and marketing campaigns.
The Pandemic’s Pivot: Games as a New Stage for Artists
The global COVID-19 pandemic, which brought the majority of live music performances to a standstill, has inadvertently acted as a catalyst, driving bands and artists to explore video games as a vital new avenue for fan engagement and discovery. Managers, agents, and record labels are actively seeking opportunities on these burgeoning platforms. However, navigating this landscape and securing placements is far from straightforward. Many crucial conversations surrounding music synchronization – the process of aligning music with visual media – occur behind closed doors, creating a veil of mystery for aspiring artists. To demystify this process, experts from both the gaming and music industries have shared invaluable insights and practical advice for artists seeking to have their music featured in video games.
The Architects of Sound: Who Decides What We Hear?
In larger game development studios, in-house teams of music supervisors and A&R professionals collaborate closely with record labels to identify music that aligns with a game’s sonic vision. Smaller studios or those with specific needs often engage external music consultancy firms, such as Feel for Music, which specialize in music discovery and licensing tailored to project briefs. Ben Sumner, director at Feel for Music, notes that these briefs can vary dramatically depending on the game’s genre, target audience, and the creative direction of the development team.
"Most people appreciate music, but some are deeply passionate music fans from the outset, 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, preconceived ideas about the sound they want to achieve. Sometimes we’re brought in simply to refine an existing sonic palette. Other times, the team may not have a clear direction at all."
Sumner emphasizes the critical role of objectivity in his team’s work. "Music tastes are inherently subjective," he continues. "Our job is to bring objectivity, demonstrating how specific music resonates with particular demographics, how it aligns with the game’s narrative and mechanics, and the cultural cachet it lends to the overall branding."
The exponential growth of the video game industry has significantly eased the process of demonstrating the value of these musical collaborations to record labels, publishers, and artist managers. Alex Hackford, head of A&R at Sony Interactive Entertainment America, observes, "The ease of having direct conversations with labels and publishers about the value of video game involvement… that barrier has lowered considerably because people have witnessed the impact. The ability for us to secure greater buy-in from our partners on projects is becoming significantly easier."
Hackford cites Sony’s recent projects as examples of this evolving synergy. "On Spider-Man: Miles Morales, we commissioned four original tracks that were released simultaneously across DSPs [digital service providers], within the game, and as a physical release. We produced music videos for each track, all of which were gameplay-driven. We executed similar strategies in our partnership with RMCA for Death Stranding. I believe I speak for many when I say we are all looking to expand these types of initiatives."
The Discovery Pipeline: Getting Your Music Heard
For artists aiming to have their music featured in video games, the objective is widespread listenership, but there is no single, guaranteed pathway to success. Duncan Smith, head of music at Sony Interactive Entertainment Europe, points out that each game has its unique criteria. "Every game has different requirements, so it depends on what the game is trying to convey and the type of music it needs. Will it benefit from a contemporary tracklist featuring prominent artists, or would it be enhanced by exploring more obscure bands that can deepen the player experience?"
In an environment where music supervisors have an almost infinite library of tracks to choose from, artists can significantly improve their chances of discovery by implementing strategic approaches. A proactive effort is integral to identifying emerging talent for video games; music supervisors are not passive recipients of music. Therefore, ensuring your music is accessible across as many platforms as possible – including Spotify, Apple Music, Deezer, Google Play, and YouTube – is paramount.
Stephen Root, vice president of development creative services at Codemasters, highlights his reliance on Spotify: "I use Spotify extensively because it’s user-friendly and possesses an excellent interface. When we were developing the soundtrack for Dirt 5, Spotify provided an easy way to curate playlists and share them with key stakeholders within the company."
The widespread availability of music can lead to serendipitous opportunities. Jim Hodge, vocalist for the metal band Mastiff, recounts an unexpected approach from CD Projekt Red, which ultimately resulted in their track "Acid Breather" being included in the highly anticipated game Cyberpunk 2077. "We honestly thought it was a prank until we began speaking with them properly," Hodge recalls. "They were interested in an unreleased track, and we had literally just finished recording it in the studio the month prior. At the time, we were not under contract, which made releasing the track much simpler. Having a song featured in one of the biggest games ever released is truly astounding, and hearing our music in the game still gives us chills."
While not a prerequisite, being signed to a major record label can offer advantages, as labels often have dedicated teams working to place their artists’ music. 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 focusing on who is up and coming," Root explains. "I try to understand which artists these labels are investing in and why they believe they will achieve significant success."
However, the opportunities are not limited to signed artists. Independent musicians and those on smaller labels have ample avenues to get their music into games. "I’m always keen to give new talent a chance," Root continues. "I’m particularly drawn to emerging artists, so I encourage labels and managers to send me all their new material, and I’ll sift through it."
Sony’s Duncan Smith reassures artists with smaller fan bases. "One of the reasons I love this job is that, more often than not, we’re searching for music that enhances the game’s experience or a particular scene. The number of hits, streams, or views an artist has accumulated is frequently not the deciding factor. The priority is to find music that elevates the experience, makes it compelling, and connects with the player. In that sense, you don’t need to be on a major label."
Tom Mackay, Sony’s president of premium content A&R, reinforces this inclusive approach. "Ultimately, good music is good music," he states. "Is there a predetermined goal to predominantly feature Sony Music artists in our projects? Of course. But would I be shortsighted and potentially hinder the game or project by only considering Sony artists? Absolutely. It’s a careful balance. If an exceptional record emerged that was perfect for the game and universally loved, we would never stand in its way."
Cultivating a Unique Sonic Identity
From a composer’s perspective, Joe Henson of the musical duo The Flight emphasizes the importance of artists finding their unique voice. "Don’t just emulate what others are doing, because they already do it," he advises. "Avoid the temptation to produce generic, epic orchestral music, as that’s a crowded space. If you possess a unique instrument or sound, leverage it."
Duncan Smith concurs, believing that artists with a distinctive sound are more likely to make a lasting impression. "Develop your own sound and cultivate a strong identity. Don’t chase trends in games or music sync," he urges. "Focus on the fundamentals of developing your identity, and then make the effort to connect with individuals like myself and Alex. Understand what we’re working on, strive to build a relationship, and your persistence will cut through the noise. If you possess a strong identity, we might reach out a year or so later if a project requires your specific style – whether that’s industrial, drum ‘n’ bass, folk, or any other genre. Do what you do, and do it with passion."
Mastering the Approach: Strategic Engagement
The ultimate goal for artists is to have their music heard by as many relevant decision-makers as possible. However, securing an email response from the right people can be a significant challenge. Strategic thinking and tailored outreach are key to improving one’s chances.
Many video games are meticulously branded to align with specific musical styles or genres. For instance, the NBA 2K series is naturally inclined towards rap and hip-hop, while the soundtrack for Life is Strange predominantly features indie and folk artists. Instead of indiscriminately sending music to numerous contacts, it is crucial to identify which specific titles or franchises would be the most suitable fit for an artist’s sound.
"You want there to be a seamless creative bond of connectivity between the artist and what they represent – their sound, their aesthetic, their ethos – and how that integrates with the game itself," explains Sony’s Tom Mackay. "We invest an immense amount of time with the director or game developer to understand their vision, and then we meticulously research bands globally to find those that will align."
Once an artist has identified potential game fits, they can determine the most relevant contacts to approach. "Most people don’t undertake this preparatory work," Ben Sumner points out, suggesting that this diligence can be a significant advantage. Identifying key individuals can be achieved by examining game credits for audio and music team members, or by conducting targeted searches on platforms like Google and LinkedIn for music supervisors and audio directors. Enthusiasts can also scrutinize YouTube descriptions for launch trailers or other promotional videos to find credited individuals.
For artists uncertain about initiating contact, enlisting professional assistance is a viable option. Stephen Root advises musicians to proactively discuss their interest in video games with their management or agents, ensuring they are considered for relevant opportunities. "I would strongly advise any artist, whether they are on the cusp of being signed or have just been signed, to communicate their level of interest in gaming to their management," Root recommends. "Ask them to identify and approach companies to explore potential placements for your music. I genuinely believe this is a highly beneficial course of action."
In situations where managers or labels may lack the specialized expertise, engaging a sync representative – a professional dedicated to identifying commercial opportunities and connecting clients with the right industry contacts – is another avenue suggested by Duncan Smith for artists serious about game placements. "It’s essential to make an effort to understand what we’re working on, and I believe third-party sync representatives can be invaluable in this regard," Smith notes. "It’s particularly challenging to stay abreast of music supervisors’ current projects and cultivate those relationships. If you don’t have a label or publisher with established connections to music supervisors, seek out the right sync representative who can facilitate these introductions for you."
Alex Hackford stresses the importance of personalization in formal pitches. "If you’re making a formal pitch, ensure you know precisely who you are pitching to and reference games they have worked on, rather than broadly referencing cross-platform products that may not be as relevant to their specific contributions," he advises.
Duncan Smith echoes this sentiment. "Attempting to build a relationship and making a genuine effort will always stand out, especially compared to the generic emails we receive where senders list dozens of supervisors without tailoring their message or researching our ongoing projects."
Feel For Music, a busy music consultancy, receives an average of 200 to 250 emails daily from bands, artists, labels, and publishers seeking game placements. Ben Sumner acknowledges the sheer volume makes it challenging to review every submission. "It might be difficult for us to listen to all your music immediately, but if you are persistent, focused, and understand where your music might logically fit, that’s an excellent starting point," he offers. "We generally give everyone who contacts us a chance. If an email gets overlooked, a polite follow-up ensures it gets reviewed." Sumner cites the persistent approach of Sufjan Stevens’ manager as instrumental in securing his music for Life is Strange spin-off The Amazing Adventures of Captain Spirit.
Technical Requirements and Creative Adaptability
Beyond the artistic appeal, technical considerations are crucial. Artists must ensure their music is available in a variety of file formats. For trailer submissions, having access to individual instrument tracks, known as "stems," as well as complete stereo files is essential. Producers reworking music for trailers or interactive in-game elements require stems for precise editing. "Having your music in the correct formats is paramount," Sumner explains. "Do you have an instrumental version? Do you have the vocal tracks? We will always need stems if we are to rework the music for a trailer or other application."
Sumner also suggests that artists consider rearranging their tracks into structures more amenable to in-game placement or advertising. "For a trailer, instead of a standard verse-chorus structure, consider a version that comprises an intro, a middle section, and an outro, which is more typical of trailer music," he recommends.
The Flight, a musical composition duo with extensive experience across various media, notes that the games industry can be particularly challenging to penetrate, whether as a composer or an artist seeking music placements. "In film and television, you can often ascertain what projects are in production and engage with people who can provide insights," says Joe Henson. "In the gaming world, you may not discover what others are working on until you have that initial significant meeting. We might finish a project with Ubisoft and have no immediate knowledge of their next endeavor. Opportunities often arise unexpectedly, and due to the prevalence of Non-Disclosure Agreements (NDAs), breaking into the video game sector can sometimes be complex."
While new intellectual property (IP) development presents greater hurdles, artists can strategically target annual franchises like FIFA or Call of Duty, working backward from their release schedules to align with their own music release plans. "There are numerous annual games released, and artists can generally work backward from these schedules," Alex Hackford explains. "We typically commence music development and the pitching process eight to ten months prior to a game’s release."
Artists should also consider their own release strategies. Informing contacts about any unreleased tracks can be advantageous, as studios often welcome the opportunity to debut new music from promising artists.
Navigating Licensing and Maximizing Collaboration
Licensing music is a complex undertaking. Artists signed to labels or with past label experience must have a clear understanding of who owns the various rights to their music. Addressing any ambiguities regarding ownership early in a project is critical. "I am currently encountering a situation where I really like a track, but there are significant questions surrounding its ownership, which may necessitate its exclusion," Hackford reveals. "That is the last thing you want when the song has already been presented to potential collaborators."
For artists fortunate enough to secure a placement, exploring opportunities for added value beyond the music itself is crucial. "I appreciate it when a manager says, ‘The fee is negotiable, but what else can you do for my artist?’" Smith shares. "DJ Shadow’s manager had this discussion when I was working on Driveclub. We ended up featuring his album artwork on in-game car skins, which stemmed purely from the manager’s proactive inquiry and engagement with the team. Always consider ‘what else is possible’ and explore cross-promotional opportunities."
Stephen Root highlights the impact of artist engagement: "One of the exclusives for Dirt 5 was a band called Broken Witt Rebels. They didn’t just participate; they fully committed, even creating a music video using gameplay footage. We were incredibly impressed by that."
Effective music placement necessitates meticulous planning, particularly when coordinating unreleased music around an upcoming game launch. Root emphasizes the importance of budget considerations from the outset. Careful planning around the music budget for Codemasters’ off-road racer Dirt 5 enabled the team to curate a diverse soundtrack featuring debut tracks from emerging artists alongside established hits. "I assess the overall budget from the beginning and then determine how many tracks it can accommodate and how that allocation will be distributed across the game," Root explains. "I establish three fee tiers: for up-and-coming artists, those in the mid-tier of success, and finally, the major artists."
Financial Realities and Long-Term Relationships
Securing a song in a video game is unlikely to result in overnight riches. While some game composers benefit from contractual terms that include royalties on video game scores, the remuneration for contributed tracks from artists typically follows a different model. "In the early days of GTA, they offered royalties on tracks," Ben Sumner recalls. "The individuals who contributed music to those earlier GTA games saw significant returns from those placements. However, the current model is largely fixed-rate, which represents a fundamental shift."
Sumner elaborates, "Royalty payments are generally a thing of the past, though there are exceptions, particularly for writers registered with certain European PROs [performance rights organizations], which have specific regulations regarding music licensing in games. I have also encountered mobile games with minimal or modest upfront budgets that do offer royalties."
Duncan Smith advocates for realistic expectations to foster long-term financial benefits. "Approach deals with realistic expectations. Don’t entertain fantasies of life-changing sums of money," he advises. "It’s more about being pragmatic, being a pleasure to work with, being helpful, and providing us with everything we need. If we have a positive experience working with an artist, label, or publisher, we are more likely to collaborate with them again. This fosters repeat business and enduring relationships, rather than a one-off transaction."
The Enduring Impact: Beyond the Soundtrack
The significance of a well-placed song in a video game cannot be overstated. John Feldmann, lead singer of the punk-rock band Goldfinger, stated in a 2020 interview that their track "Superman" became their "biggest song ever written" due to its inclusion in Tony Hawk’s Pro Skater. For many bands, appearing in such franchises has been akin to receiving a "badge of honor."
While music placements in games are now more commonplace than two decades ago, the relatively recent trend of artists debuting new music within video games allows them to instantly reach millions of players. Alex Hackford notes, "For Marvel’s Spider-Man: Miles Morales on the PS5, we produced two original tracks with the artist Lecrae, whose streaming numbers saw a significant surge based on those two tracks alone. He [Lecrae] is an independent artist at this stage, so the increase in audience and reach from accessing 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 artists such as Bring Me The Horizon, CHVRCHES, Major Lazer, and Khalid. While the COVID-19 pandemic created an unpredictable landscape for musicians, it also accelerated the industry’s pivot towards video games, as seen in GTA V Online‘s addition of 250 new tracks in its December DLC update, and collaborations between artists like Katy Perry and Post Malone with The Pokémon Company.
"The gaming industry will play an increasingly significant role in how the music industry perceives, operates, and strategizes on a daily basis going forward," asserts Tom Mackay from Sony. "I believe the reasons for this are twofold: firstly, the proven effectiveness in the marketplace when executed correctly, and secondly, the inherent joy and excitement it generates for both artists and fans. What I can confidently say is that what has been achieved thus far is merely scratching the surface. These gaming platforms are the new ‘water cooler,’ the central meeting point for news and culture, particularly for millennials and younger generations."
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