Justice score Grand Theft Auto VI and open with Flower in a Hurricane, featuring Tame Impala and SZA

Justice are the composers behind the original score of Grand Theft Auto VI. Rockstar Games confirmed the French duo, Gaspard Augé and Xavier de Rosnay, alongside the game's launch trailer in mid October, and released the first full track from the project at the same time: Flower in a Hurricane, a collaboration with Tame Impala, SZA and King Gizzard and the Lizard Wizard.

Coverage describes the single as a mid 1980s style synth rock piece, with a big opening riff that several writers compared to Dire Straits. SZA and Kevin Parker of Tame Impala sing, Parker is also credited on guitar, and King Gizzard are listed among the writers. It scores the launch trailer and will appear on Grand Theft Auto VI: The Album, a 34 track soundtrack release due on 19 November, the same day the game arrives on PlayStation 5 and Xbox Series X and S.

Rockstar separates the score from the radio. The in-game stations mix licensed songs with hosted shows, while Justice wrote the original, dynamic music that sits under scenes, missions and transitions. A standalone album of the score has been teased but has no date yet, and only part of the soundtrack album's tracklist has been revealed so far.

For electronic producers, this is a significant moment. Justice came up through Ed Banger and the blog house era, and are now trusted with the music for one of the most anticipated entertainment releases of the decade. It continues a shift in which games, not just film and television, hand original scores to club-rooted acts whose sound already defines a mood.

The practical takeaway for artists and managers is that sync and score work now extends well beyond adverts and trailers. Games need hours of adaptive music, stems that can loop and layer, and composers who can deliver to a brief over months. Producers who keep tidy stems, own their masters and publishing where possible, and can show a body of cinematic or instrumental work are better placed when game studios and their music supervisors start looking.

Managers should also note how the release is structured: a headline single with high profile features to launch the campaign, a soundtrack album on launch day, and the score held back as a separate project. That staggered approach keeps the composer's own work in the conversation long after the trailer has done its job.