RPG General News - Game Music Festival

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Games Industry talked with Borislav Slavov and Gustavo Santaolalla about the golden age of music in games:

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From The Last of Us to Baldur's Gate 3: The success of the Game Music Festival

We talk to Borislav Slavov and Gustavo Santaolalla about the new golden age of games music

Two years ago, the Game Music Festival was held at London's Royal Festival Hall for the very first time, after five editions in its Polish homeland.

At the time, we noted how the venue, which can seat 2,700 people, was well attended, but not full. But the audience gave the two scores performed (Cuphead and both Ori titles) a very warm reception, and the event was undoubtedly a great success.

The Game Music Festival returned to London last Saturday, welcoming Larian's composer and music director Borislav Slavov for a concert presenting Baldur's Gate 3's music, and Oscar-winning Gustavo Santaolalla to perform The Last of Us' score. Both concerts featured the Philharmonia Orchestra and, in the case of BG3's performance, the Hertfordshire Chorus.

And the atmosphere was beyond anything we've previously witnessed at a games concert.

Santaolalla, one of the most revered film composers and musicians out there, was given a standing ovation before even playing a single note. His performance, changing instrument with almost every track alongside soloist and long-time collaborator Juan Luqui, explored every emotion, from tear-jerking instrumental pieces straight from TLOU's score, to electric songs from his repertoire extending that universe (if you've never listened to Ando Rodando, this is your sign to do so).

Later in the day, the Baldur's Gate 3 concert was filled to the brim, with the game's cast in the audience alongside many cosplayers, enjoying performances from solo soprani Ilona Ivanova and Mariya Anastasova on some of the game's iconic tracks, and the energy rising exponentially until a terrific finale that saw actor Andrew Wincott join Slavov on stage for a surprise performance of Raphael's Final Act.

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Slavov says video games music has reached a "very special" stage that he calls a "romantic period," with the music crossing boundaries beyond its core community.

"The moment where video game music crosses the border between the industry and media, and goes into everyday people's lives... This is very, very special and makes me incredibly grateful, and lucky to be able to witness [it], and to be part of [it]."

He adds: "And this is the proof and strongest indication that video game music is a thing in its own right. It's one thing to be part of the medium, as good as it is, but it's a completely different story when one day you realise that this particular element from the video game development is crossing the boundaries and becoming part of the people's everyday lives."

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