The inaugural London Soundtrack Festival is gearing up to celebrate the music of film, television, and video games from March 19 to 26, 2025. Spearheaded by composer and broadcaster Tommy Pearson, alongside producer Svitlana Gunning, the festival has captured attention for its unique focus on video game music, a genre that is rapidly gaining cultural significance. According to Pearson, the founder and artistic director, “It is impossible to ignore video game music now,” highlighting the growth of interest in this art form and its relevance alongside traditional media scores.

A study shows that a considerable one-third of the Royal Philharmonic Orchestra’s first-time audience members are drawn to the concert hall via their favourite movie and series soundtracks, as well as video games. In an environment where soundtracks are no longer confined to their respective media, the London Soundtrack Festival aims to celebrate the creative artistry behind them. Pearson stated that incorporating video game music into the festival was essential, describing it as “a no-brainer” and emphasising that it deserves equal recognition alongside film and television scores.

The festival will host a diverse array of activities including live performances, panel discussions, screenings, Q&As, and masterclasses across several prominent cultural venues in London, such as the BFI, Southbank Centre, Roundhouse, Cadogan Hall, Wigmore Hall, and the Barbican. The Royal Philharmonic Concert Orchestra will perform notable video game music in an event titled “State of the Art”, featuring acclaimed composers Stephen Barton and Gordy Haab, who have recently received Grammy and Ivor Novello awards for their work on “Star Wars Jedi: Survivor”.

Composers from the gaming world, including Ludvig Forssell (Death Stranding), Harry Gregson-Williams (Metal Gear Solid), Stephanie Economou (Assassin’s Creed Valhalla: Dawn of Ragnarök), and Borislav Slavov (Baldur’s Gate 3), are also set to participate in discussions about the significance of gaming scores within the broader music landscape. Economou remarked on the prevalence of video game music, noting that “you’d be hard-pressed to find someone who can’t sing a tune from Super Mario Bros or Final Fantasy.” She articulated that the recognition and celebration of video game music is long overdue, stating, “the industry itself is more profitable than the film, television, and music industry combined.”

The visual identity for the festival has been developed by design studio Baxter & Bailey, influenced by the format of cinema and gaming screens. With a kinetic, adaptable grid system, the branding reflects the dynamic nature of sound in motion. Creative director Matt Baxter explained that the identity was designed to convey movement, which is central to the festival’s theme. “The festival is a celebration of sound on screen,” Baxter noted, ensuring that both print and digital materials feature a sense of dynamism.

Featuring a vibrant colour palette and expressive typographic styles, the festival’s branding aims to build recognition while capturing a wide variety of content. The distinct visual identity is intended to last several years, signalling the festival’s ambition to become a major annual cultural event. Baxter asserts that both classical music enthusiasts and fans of popular culture have a place at the London Soundtrack Festival, which aims to attract a diverse audience.

With a rich programme expected to include notable figures such as David Cronenberg, Howard Shore, Jake Shears, and Neil Tennant, the event is set to establish itself as a prominent fixture within London’s cultural calendar. The festival represents a turning point in the appreciation of soundtrack music, particularly regarding its integration within the world of video games, recognising its contribution to contemporary culture.

Source: Noah Wire Services