'007 First Light' and 'Saros' soundtracks nominated for Ivor Composer awards

The music that keeps us on the edge of our seats in the latest blockbuster titles is finally getting the spotlight it deserves. 007 First Light and Saros have snagged nominations for Best Original Video Game Score at the inaugural Ivors Composer Awards, a move that signals a seismic shift in how game soundtracks are valued in the UK and Ireland. For the composers behind these scores, the nod is more than a badge of honour; it’s a validation that their work can stand shoulder‑to‑shoulder with film and television, and it opens doors to wider recognition in a traditionally under‑represented sector.

The Ivors Composer Awards, set to run on 17 November 2026, were launched to celebrate music across documentary, TV, film and now video games. The Best Original Video Game Score category was open to any original music integral to the worlds, atmosphere and player experience of games released in the UK between 1 January 2025 and 30 June 2026. That means the nominees are not just any soundtracks; they are pieces that shape the narrative and emotional core of their games. The decision to include games in a prestigious music awards ceremony is a clear challenge to the old narrative that game music is a niche, disposable element.

007 First Light’s score, titled The Flight, is a masterclass in tension and elegance. The composerthough unnamed in the sourcehas woven a sonic tapestry that mirrors the stealth and high stakes of a James Bond adventure. The track’s rhythmic pulse and subtle orchestral swells create an atmosphere that feels both familiar and fresh, proving that a game soundtrack can deliver the same narrative punch as a Hollywood blockbuster.

In contrast, Saroscomposed by Sam Slaterpushes the envelope with a drone metal aesthetic that feels like a sonic version of a dystopian future. Slater’s work is not just background music; it is a character in its own right, amplifying the game’s bleak atmosphere and psychological depth. The nomination underscores that innovative, genre‑bending music can find a place on the same stage as more conventional scores.

For the composers, the Ivors nomination is a career‑shaping milestone. Lord Neri, CEO of The Ivors Academy, highlighted that the nominees “represent some of the most exciting and innovative British and Irish composers, creating music that brings interactive worlds and stories to life.” This public endorsement can lead to new commissions, higher visibility in the industry, and a stronger bargaining position when negotiating future projects. For Sam Slater, already known for his work in the indie scene, this could mean entry into mainstream game development pipelines that have historically overlooked experimental soundtracks.

The inclusion of game music in the Ivors Awards challenges the conventional wisdom that only film, TV and radio earn critical acclaim. It signals a broader cultural shift: interactive media is no longer a footnote but a primary vehicle for artistic expression. The award’s focus on “original music integral to the worlds, atmosphere and player experience” sets a new standard for what constitutes a ‘great composition’ in the gaming context. It also encourages composers to think beyond traditional scoring techniques and explore how sound can drive gameplay mechanics and narrative pacing.

If this trend continues, I predict that by 2028 the Ivors will introduce a separate category for “Best Interactive Sound Design,” acknowledging the growing importance of adaptive audio in games. This could further blur the lines between game soundtracks and other media, leading to a richer, more collaborative creative ecosystem.

The nominations for 007 First Light and Saros are more than a celebration of two soundtracks; they are a declaration that game music can command the same critical respect as any other art form. For the composers, it’s a launchpad into wider recognition. For the industry, it’s a call to elevate the craft of audio design to the forefront of storytelling. The Ivors are finally listening, and the world of game music is about to hear back.