"F1 The Album" Lyrics

“F1 the Album” Soundtrack Description

Overview

Can a racing film sound both thunderous and human? F1 the Album answers by pairing arena-sized hooks with a hybrid score that treats the orchestra as “the human in the machine” and electronics as the machine itself. Big-tent originals from global stars sit next to classic, chest-beating needle-drops.

The result is deliberate: songs drive character beats and crowd energy, while the score locks to camera speed so the picture never “slows down.” The record arrived day-and-date with the film and mirrors its globe-spanning footprint—club-ready pop in Vegas, rock swagger at Silverstone, Afro-fusion for training montages, and Spanish-language cuts cueing a Baja epilogue.

Questions & Answers

Is there an official soundtrack album?

Yes. F1 the Album was released alongside the film in late June 2025 on Atlantic Records / Apple Video Programming, with physical formats available.

Who composed the score?

Hans Zimmer composed the score with significant additional work/production by Steve Mazzaro; the approach blends orchestra and electronic elements.

What song plays in the Vegas club sequence?

Tate McRae’s “Just Keep Watching” underscores the Las Vegas club beat when key characters land in town.

Which track fires up the British Grand Prix crowd?

Queen’s “We Will Rock You” hits during the Silverstone build-up, used as a mass-participation stomp-clap anthem.

What plays over the end credits?

Don Toliver & Doja Cat’s “Lose My Mind.”

Is there a song written for the pub scene?

Yes. RAYE’s “Grandma Calls the Boy Bad News” was crafted specifically for a pub sequence.

Where can I stream the album?

Major platforms (Apple Music, Spotify, YouTube Music) carry the album; select tracks also have official videos.

Notes & Trivia

• Zimmer’s “gunslinger motif” for Sonny Hayes recurs across race cues and quieter character moments.
• John Mayer (guitar) and Dave Grohl (drums) appear on Ed Sheeran’s “Drive.”
• Silverstone crowds in marketing and in-film sequences leaned into “We Will Rock You” as a unifier.
• Myke Towers’ “Baja California” closes the narrative loop toward an off-road tease in the credits.
• Several cues were tempo-matched to picture to avoid the illusion of cars “slowing down.”

Genres & Themes

Rock & classic anthems = swagger and heritage (Led Zeppelin, Queen) — they frame Sonny’s age, grit, and old-school pride.

Pop/EDM & club = spectacle and neon excess (Tate McRae, Dom Dolla, Peggy Gou) — Vegas-set sequences and paddock nightlife.

Afrobeats/Amapiano = motion and resilience (Burna Boy) — training montage momentum and comeback arcs.

Latin rap = onward paths (Myke Towers) — points to Baja’s dust and post-F1 horizons.

Tracks & Scenes

“Just Keep Watching” — Tate McRae
Scene: Las Vegas club arrival; diegetic-adjacent pop pulse while Cashman and Joshua hit the strip.
Why it matters: Puts the film’s show-business edge front-and-center and contrasts with Sonny’s pragmatism.

“We Will Rock You” — Queen
Scene: Silverstone build-up before the British Grand Prix; crowd stomp-claps sync with grid shots; non-diegetic blended with stadium PA feel.
Why it matters: A unifying, mass-participation cue that primes national-stage pressure.

“Lose My Mind” — Don Toliver & Doja Cat
Scene: End credits (post-race), rolling over epilogue imagery.
Why it matters: Functions as a curtain-call hit and playlist lead for the album campaign.

“Round and Round” — Ratt
Scene: Early re-introduction of Sonny; Ruben’s pitch and old-flame nostalgia, with 80s radio swagger steering the tone.
Why it matters: Signals Sonny’s era and Bruckheimer-style bravado.

“The Stroke” — Billy Squier
Scene: Early recruitment/“back-to-the-garage” beat; non-diegetic needle-drop that sells salesmanship and risk.
Why it matters: Irony and strut; a wink at deal-making machismo.

“Don’t Let Me Drown” — Burna Boy
Scene: Split training montage—Sonny’s analog grind vs. Joshua’s data-driven drills; non-diegetic with rhythmic edits.
Why it matters: Modernizes the montage grammar and frames mentor–protégé contrast.

“Grandma Calls the Boy Bad News” — RAYE
Scene: Pub sequence; warm, soulful undercurrent as tensions thaw in a public setting.
Why it matters: A rare exhale cue; humanizes the paddock politics.

“Just Cool” — Obongjayar
Scene: Poker/back-room hustle scene with Kate out-maneuvering the boys; non-diegetic with room bleed.
Why it matters: Underscores Kate’s edge and the film’s con-game subplot.

“Drive” — Ed Sheeran
Scene: Late-film catharsis and into credits bumper; guitar-driven release after the last lap high.
Why it matters: A mainstream rock swing that translates racing’s velocity into melody.

“Baja California” — Myke Towers
Scene: Baja off-road tag during mid-credits; radio-style placement toward the desert epilogue.
Why it matters: Bridges F1’s world with a new road — dusty, risky, forward.

“Whole Lotta Love” — Led Zeppelin
Scene: An early tone-setter over swaggering montage cuts.
Why it matters: Heritage voltage; telegraphs scale and appetite.

Music–Story Links

Classic rock cues (“Round and Round,” “The Stroke,” “Whole Lotta Love”) dress Sonny’s past—loud, analog, unfiltered—while newer singles (“Just Keep Watching,” “No Room for a Saint”) color the paddock’s glossy present. Burna Boy’s groove splits the mentor–rookie montage into two philosophies. The Baja tag swaps carbon fiber for dust and puts a Spanish-language palette on an open-ended future.

How It Was Made

Score: Hans Zimmer with Steve Mazzaro built a hybrid orchestral–electronic language; contributors include guitarist Tim Henson and drummer Marco Minnemann. Direction and producers worked closely with Apple’s in-house music team and Atlantic Records to commission originals aligned to scenes (e.g., Sheeran’s “Drive”). Formula 1 champion Lewis Hamilton consulted on authenticity and global artist mix.

Supervision: Apple Original Films’ head of music David Taylor led in-house supervision in partnership with Atlantic; other listings credit Laurence Ungless in a music supervision role.

Reception & Quotes

Critical consensus favored the album’s breadth and the score’s pulse-locking approach; fan chatter singled out “Drive,” the Silverstone stomp, and the Amapiano-fed montage.

“The score … keeps us on edge, then warms the heart.” Screen Rant

“Electronica-infused, tempo-matched to speed.” GQ

“‘Drive’ tops the track list.” Billboard

Trusted sources cited in-text: Associated Press; Rolling Stone Philippines; Apple Music.

Additional Info

• Album campaign rolled out singles ahead of release (Rosé, Myke Towers, Tate McRae, Ed Sheeran).
• Physical editions included CD, vinyl, and cassette alongside streaming.
• “We Will Rock You” doubled as trailer branding before race weekends.
• RAYE’s pub-scene song was teased by the artist and producer Mark Ronson on social media.
• “Lose My Mind” served as the credits capstone and first single.
• Zimmer–Bruckheimer: 13th collaboration, echoing Days of Thunder and Rush lineage.
• Lewis Hamilton’s producer role extended to music curation guidance.
• Several artist videos intercut film footage with performance (e.g., “Drive,” “Messy”).

Technical Info

• Title: F1 the Album
• Year: 2025
• Type: Compilation album with original songs + original score
• Score: Hans Zimmer (with Steve Mazzaro)
• Music Supervision: David Taylor (Apple Original Films); also credited: Laurence Ungless
• Label: Atlantic Records / Apple Video Programming LLC
• Release: June 27, 2025 (albums); film U.S. release June 27, 2025; world premiere June 16, 2025
• Availability: Streaming (Apple Music/Spotify/YouTube Music); CD, vinyl, cassette
• Selected placements: “Just Keep Watching” (Vegas club), “We Will Rock You” (Silverstone build-up), “Lose My Mind” (end credits), “Don’t Let Me Drown” (training montage), “Grandma Calls the Boy Bad News” (pub), “Round and Round” (early pitch), “The Stroke” (recruitment beat), “Baja California” (Baja tag)

Canonical Entities & Relations

Sources: Associated Press; Rolling Stone Philippines; Apple Music; Formula1.com; Radio Times; NME; GQ; Screen Rant; Billboard.

November, 09th 2025