GTA 6 Original Score by Justice Arrives December 11 With 30 Tracks

A score designed to follow the player

The Grand Theft Auto 6 score is built to respond to play: its 30 tracks adapt to how players move through Vice City and Leonida during Jason and Lucia’s story. Justice, the electronic duo behind the game’s launch trailer song “Flower in a Hurricane,” composed the music. The Original Score arrives December 11 and is available to pre-order now, with pre-saves on streaming services expected when it goes live.

That adaptive design gives the score a job beyond setting a general mood. In a game where players can move through the world in different ways, music that responds to play can help a scene feel tied to the player’s choices and surroundings. The available details don’t explain exactly how the 30 tracks change, or what kinds of actions trigger those changes. That distinction matters: “adaptive” describes an approach, not a full account of what players will hear moment to moment.

Justice’s involvement also links the game’s broader musical identity to a specific piece of its promotion. The duo composed “Flower in a Hurricane,” which appeared in the launch trailer, and the track is included in the score release. That gives listeners a familiar entry point, while the new material can show how the music works beyond a trailer’s tightly edited sequence. Whether the score’s compositions will be heard in full during play, or mainly in changing excerpts, hasn’t been specified.

The score and the album serve different purposes

Collectors can get the score on double CD or triple vinyl, following the November 19 release of The Album alongside the game. The album and score are distinct: the latter draws from the game’s “adaptive score,” with compositions “dynamically tuned to the different ways players engage with the world of Vice City and Leonida throughout Jason and Lucia’s story.”

That separation is useful for listeners trying to understand what each release represents. An album can gather songs into a fixed sequence for listening; an adaptive game score is designed to respond within play, where timing and context may shift. A record of that score can offer a way to revisit its compositions, but it won’t necessarily reproduce the changing experience of hearing them in the game. The formats make the release more than a single soundtrack package, though the source doesn’t describe how the physical editions will be organized.

The double CD and triple vinyl also give collectors a tangible version of music created for a digital, interactive setting. That’s a familiar tension in game soundtracks: the music heard during play may be shaped by the moment, while a physical release needs a listening order. Here’s the thing: the announcement establishes that the score is adaptive, but leaves open how its tracks are arranged for standalone listening. The answer could affect how much the record feels like a conventional album and how much it serves as a document of the game’s musical material.

New music, with details still to come

The release includes “Flower in a Hurricane” and introduces “Pusher,” a new track featuring Gesaffelstein, now available to stream. Its darker electronic sound should appeal to listeners who favor that side of Justice. Rockstar also says the score will include a “number” of digital bonus tracks; whether those feature vocals from the duo remains unknown.

“Pusher” offers an early indication of the electronic direction represented in the release, but one track can only say so much about a 30-track score. The collaboration with Gesaffelstein adds another name to the music announcement, while the description of the track points to a darker sound. Listeners can judge that single directly. They’ll have to wait for the full score to assess how it sits alongside the rest of the compositions.

The digital bonus tracks are a small but notable open question. Rockstar has confirmed their presence without saying how many there’ll be or what they contain. That uncertainty makes it premature to treat them as a major expansion of the release; for now, they’re an announced extra whose contents haven’t been described. And yet, bonus material can matter to fans who follow a composer’s work closely, especially when a release draws from music made to change with gameplay.

A format difference, then. The physical editions are confirmed as double CD and triple vinyl, while the bonus tracks are described as digital. The announcement doesn’t say whether those tracks will appear on either physical edition, or whether they’ll add vocal performances. Any more specific claim would go beyond what’s been shared.

World design raises the stakes for adaptive music

The music announcement comes alongside details from Edge Magazine’s latest cover story. Rockstar says GTA 6’s landmass is nearly as large as the combined playable areas of GTA 4, GTA 5 and Red Dead Redemption 2. The game also has a longer day and night cycle and an extensive weather system, with storms capable of damaging aircraft.

Those features matter to the score because they describe a game world with changing conditions and a large area to explore. A responsive soundtrack could help connect the player’s immediate activity to the wider setting, but the announcement doesn’t specify that music changes with weather, time of day, or aircraft damage. It says the score is tuned to different ways players engage with the world. That’s the firm ground; more detailed links between particular systems and musical cues remain unconfirmed.

This is more significant than it looks: adaptive music is part of how a game can make exploration feel active, rather than like travel between story scenes. If you’re working in this space, the useful question isn’t simply how many tracks the score has, but how clearly it responds to play without calling attention to the system behind it. The announced track count and broad design offer a starting point, not a verdict on how well that balance works.

The scale of the setting also sets a high bar for musical variety. A score that follows different forms of engagement has to remain coherent across a player’s changing pace and route through the world. That’s a general challenge for this kind of game music, not a claim about how GTA 6 handles every situation. The details released so far don’t explain how often music shifts, how transitions are managed, or whether players can influence the score directly.

The December 11 release should give listeners more material to assess, while the game itself will reveal how the adaptive approach feels in context. Until then, the clearest picture is a Justice score with 30 tracks, a confirmed physical release, a streaming track featuring Gesaffelstein, and digital bonus material whose contents haven’t been detailed. Promising in concept. Still short on specifics.