You cannot play Grand Theft Auto VI yet. You can, however, already hear what it sounds like from the inside. Rockstar Games has released a brand-new piece of the game’s original score, a seven-minute track called “Pusher” from French electronic duo Justice, made with fellow French producer Gesaffelstein. It is streaming now on every major music service, and it arrives with the full picture of the score album it belongs to: a standalone record of the music Justice composed for the game, coming to streaming, CD and vinyl a few weeks after launch.
This is not background music. It is the sound of the game itself, built to shift and react as you play, and the new track is the clearest taste of it so far.
What “Pusher” actually is
“Pusher” is the second piece of Justice’s GTA 6 score to be released in full. It runs just over seven minutes, and it is the duo’s first-ever collaboration with Gesaffelstein, the French electronic producer whose real name is Mike Lévy. Where the first released track leaned bright and sun-drenched, “Pusher” goes the other way: a dark, driving, industrial pulse that builds without letting up, the kind of track that sounds purpose-built for a nighttime drive through Vice City with trouble closing in.
The track is available now on Spotify, Apple Music, YouTube and the other major streaming services, and Justice have posted it to their own YouTube channel as well. If you want the fastest possible sense of what GTA 6 feels like to play, rather than what it looks like in a trailer, this is currently the best seven minutes available.
It matters that this is a score track and not a licensed song. Licensed music in Grand Theft Auto lives on the radio: you hear it when a character gets in a car and turns the dial. The score lives underneath everything else. It follows Jason and Lucia through the story, rises when a job goes wrong, and settles when the heat dies down. “Pusher” is a preview of that layer, and its relentless, escalating structure tells you a lot about the tone Rockstar wants for the game’s tensest moments.
The full album: what is on it
The album is called Grand Theft Auto VI: Original Score, and it collects the music Justice composed for the game. According to Rockstar’s official description, reported by multiple outlets, the score features 30 tracks plus additional digital bonus material across all formats, adding up to roughly three hours of music. It will be released on streaming services, as a double CD, and as a triple vinyl, with the vinyl offered in both a standard black pressing and a limited crystal-clear edition. Pre-orders and pre-saves are already open.
The people behind it are Gaspard Augé and Xavier de Rosnay, the duo behind Justice, working in close collaboration with Rockstar. Their brief was unusual for a game score. Rather than writing fixed pieces of music to sit under fixed scenes, they built what Rockstar calls an adaptive score: compositions designed to respond dynamically to what the player is doing as they move through Vice City and the wider state of Leonida, following Jason and Lucia’s story. The music is meant to bend with the gameplay, not just accompany it.
De Rosnay has described the scale of the job in terms of the game itself, saying the team knew from the start that the music would have to be as broad in emotions, genres and textures as the world it scores, and that Rockstar gave them the freedom to explore as widely as they needed as long as it made sense for the game. That freedom is audible in the two tracks released so far, which could hardly sound more different from each other while still belonging to the same score.
The other track you already know
If “Pusher” sounds unfamiliar, its predecessor will not. The first piece of the score to be released was “Flower in a Hurricane,” the track that powered the game’s launch trailer and gave that trailer much of its lift. It features Tame Impala, SZA and King Gizzard & The Lizard Wizard alongside Justice, and it has become a genuine chart story in its own right, reaching No. 62 on the Billboard Hot 100 and No. 34 on the US Alternative Radio chart, a career milestone for the Australian band King Gizzard in particular.
Pieces of Justice’s score had already appeared before either single, scoring key moments of the game’s extended gameplay look and other major announcements. But the two singles are the first time fans can sit with the music on its own terms, outside of footage, and judge it as music. Between them they already add up to more than ten minutes of the score, and they sketch the range Rockstar is aiming for: sunshine and chaos on one side, dread and momentum on the other.
Do not confuse the two albums
This is the part that trips people up, so it is worth being precise. There are two different GTA 6 music releases, and they are not the same record.
The first is Grand Theft Auto VI: Original Score, the Justice album described above: the in-game score, 30 tracks plus digital bonuses, arriving a few weeks after launch. The second is Grand Theft Auto VI: The Album, a separate companion collection of original songs by a long list of artists, which arrives alongside the game on November 19, 2026. That album runs to 34 tracks, and the names revealed so far include Travis Scott, Cardi B, Future, Metro Boomin, Fred again.., PinkPantheress, Morgan Wallen, Rauw Alejandro, Fuerza Regida, Yung Lean and Keith Richards, whose contribution is a track called “Bright Lights, Big City.” Travis Scott’s track is called “RHYNO” and Cardi B’s is called “Don’t Chart.” Nine tracks from that album have been revealed so far.
“Flower in a Hurricane” appears in both collections, which is part of why the two get mixed up. The simple way to keep them straight is this: if it is Justice’s score, it is the Original Score album. If it is a star-studded song collection, it is The Album. Check the full title before you pre-order anything, because the two are easy to confuse and they arrive at different times.
Why a dynamic score is a bigger deal than it sounds
Grand Theft Auto has always been a music game, but historically its music has meant radio stations: licensed songs, celebrity DJs, talk radio and satire, all discovered by getting in a car. That tradition is continuing and expanding, with celebrity radio hosts including Robyn and Lana Del Rey among those announced for the game’s stations. But the score is a different job, and Rockstar handing it to a single act with a distinctive sound is a statement about how the game is meant to feel moment to moment.
A fixed soundtrack tells you what a scene means. A dynamic score has to keep up with a player who might turn a quiet drive into a police chase in ten seconds, and then lose the police in a swamp five minutes later. Justice’s music was built for that: expansive compositions tuned to the different ways players engage with the world, in Rockstar’s own description. “Pusher” makes that ambition concrete. Its unbroken, escalating pulse is not the sound of a cutscene. It is the sound of a situation getting worse in real time, and it suggests the score will be doing real dramatic work during play, not just filling silence.
There is also a practical reason to care. Players will spend dozens of hours with this score, far longer than with any single licensed track, and it will shape how Leonida feels at 3 a.m. on a back road just as much as the graphics do. A score that works becomes invisible in the best way: you stop noticing it and start feeling it. A score that does not work gets muted. Rockstar clearly knows that, which is why it put two of the biggest names in French electronic music on the job and then gave them room to roam.
One number to be careful with
If you go looking for the album on a storefront, you may see a higher track number than the one quoted above. One storefront listing shows a long run of placeholder entries alongside the two unlocked tracks, which is why some reports cite a larger total. The official album description, as reported by the music press, is 30 tracks plus digital bonus material, roughly three hours in total. Placeholder slots on a pre-release listing are not tracks, and the tracklist will only be final when the album itself is out. Treat any bigger number you see as listing furniture, not a tracklist, until Rockstar confirms otherwise.
Formats, editions and how to hear it
For listeners, the practical details are straightforward. “Pusher” is streaming now on all major services, and “Flower in a Hurricane” is already out as a standalone single as well. The full Original Score album can be pre-saved for streaming and pre-ordered on CD and vinyl, with the vinyl coming as a triple LP in standard black or a limited crystal-clear pressing. The release is handled through Because Music, Ed Banger Records and Rockstar Games, the same labels behind Justice’s own records.
For collectors, the crystal-clear vinyl is the obvious talking point: limited pressings of a record tied to the biggest game launch in years tend not to stay available for long. For everyone else, the streaming version is the one that matters, because it is the version you will actually live with while playing. Either way, the album is a post-launch release, so the score will keep arriving even after the game itself is in players’ hands.
What this tells us about the final stretch
Look at the shape of the rollout and a pattern emerges. Rockstar announced Justice as the game’s composers alongside the launch trailer, letting “Flower in a Hurricane” carry the footage. The studio has since handed different slices of the game to different outlets: a magazine cover story here, a fashion-magazine feature there, a studio visit somewhere else. Now the music itself is being released in stages, with a single out now and the full score album following after launch. Each piece is designed to travel on its own, and each one reaches a slightly different audience: gamers, music fans, collectors, and the overlap between all three.
That is also why the music rollout deserves attention even from players who do not buy soundtracks. The launch trailer remains the single biggest reveal so far, and its music did a large share of the emotional work. The Edge magazine cover story, a 16-page feature built on a visit to Rockstar’s Edinburgh studio, shows the same strategy in print: controlled, high-quality pieces of the game, released one at a time, each one giving fans something real to chew on instead of another round of speculation. The score singles work the same way. They are official, they are listenable, and they answer a question trailers cannot: what does this game actually feel like?
There is a commercial angle too. Pre-orders have already passed 6.45 million by one tracker estimate, with PlayStation holding nearly three-quarters of them, and the game is dominating the conversation ahead of launch. A score album that arrives after launch keeps that conversation going into the weeks when players are actually in the world, hearing these compositions in context for the first time. It also gives Rockstar a second launch moment: the game first, then the music of the game, each one feeding attention back to the other.
What to listen for next
The immediate question is what the rest of the score sounds like. Two tracks, however strong, are a small sample of a three-hour album, and the gap between “Flower in a Hurricane” and “Pusher” suggests the full record will cover a lot of ground: quiet stretches, tense stretches, and whatever Justice does for the moments in between. Watch for further single releases ahead of launch, and for the full tracklist to be confirmed when the album’s release approaches.
Then there is the other album. With nine of its 34 tracks revealed, there is still plenty of The Album left to announce, and its artist list reads like a deliberate cross-section of current music rather than a safe set of legacy picks. Between the two records, Rockstar is building one of the most ambitious music strategies any game has attempted: a score that adapts to play, and a song collection that stands on its own as a record.
For now, though, the simplest move is the best one. Put on “Pusher,” turn it up, and imagine it underneath a getaway that is going wrong. If it works for you there, it will work in Leonida too. Pre-loads are expected a week before launch, and the reported download size on PlayStation hardware is enormous, so players are already being told to clear space early. Once the game is actually installed and running, this is the music that will be waiting underneath it all.