"Fast & Furious Presents: Hobbs & Shaw" Soundtrack Lyrics

"Fast & Furious Presents: Hobbs & Shaw (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

How do you score a buddy-spy caper that keeps outdoing itself every ten minutes? This soundtrack answers with swagger: industrial-leaning hip-hop, bruising alt-rock, a sly vintage cover, and a muscular modern score. It’s cut to match David Leitch’s kinetic style — songs slam in like stunts, then hand off to Tyler Bates’ precision-tooled score to carry the momentum.

Released by Back Lot Music a week before the film hit theaters, the album frames the movie’s globe-trotting personality: London steel, Moscow chill, and a warm Samoan pulse for the finale. A handful of curated cuts — from YUNGBLUD’s “Time in a Bottle” to A$ton Wyld’s “Next Level” and Idris Elba’s end-credits flex — are the showpieces; Bates’ cues glue it all together so the banter, brawls, and big-engine mayhem feel of a piece.

Questions & Answers

Is there an official soundtrack album?

Yes. The songs album “Fast & Furious Presents: Hobbs & Shaw (Original Motion Picture Soundtrack)” was released in late July 2019 by Back Lot Music; a separate score album by Tyler Bates followed in early August 2019.

Who composed the score?

Tyler Bates composed the original score, continuing his collaboration with director David Leitch.

What’s the high-energy track used during the London supercar chase?

“Next Level” — A$ton Wyld — is the signature needle-drop tied to the London chase energy and the movie’s marketing beats.

Which song underscores the early Hobbs/Shaw lifestyle montage?

“Time In a Bottle” — YUNGBLUD — the Jim Croce cover used as an ironic, stylized contrast in the film’s early going.

What plays in the Samoa sequence?

“Masta” — Tha Movement & Anonymouz (a collective of Kiwi/Sāmoan artists) — features in the Samoa section, dovetailing with the finale’s cultural heartbeat.

What’s the end-credits track with Idris Elba?

“Even If I Die (Hobbs & Shaw) [Hybrid Remix]” — IDRIS feat. Cypress Hill — rolls during the credits.

Is aespa’s “Next Level” related to the movie?

Yes — aespa’s 2021 hit is a cover/adaptation of the Hobbs & Shaw-originated “Next Level.”

Notes & Trivia

• The soundtrack album dropped a week before the U.S. theatrical release — classic franchise play to prime the brand.
• Idris Elba appears in the film and on the soundtrack; the Hybrid remix of his track is the credits payoff.
• “Masta” brought Sāmoan and Pacific hip-hop voices into a studio tentpole moment — fitting the finale’s cultural focus.
• aespa turned the film cut “Next Level” into a global K-pop hit two years later.
• Back Lot Music also issued Bates’ stand-alone score album the week of release.

Genres & Themes

Hip-hop & rap-rock drive the heist-and-chase machinery — flex, propulsion, and attitude for needle-drops that need to punch through engines and quips. Alt-rock adds grit and swagger for team-up beats. A retro-styled cover (“Time in a Bottle”) lands as tonal counterpoint — beauty vs. bruises. Bates’ hybrid action score (synths + heavy percussion + orchestra) binds the edits and sells scale.

The finale’s Polynesian inflection (chants, drums, choral touches in the score; Sāmoan artists on the songs side) reframes the franchise’s “family” mantra into something literal and local.

Tracks & Scenes

Notes: placements below reflect on-screen use and widely documented cues. Runtime editions may shift timings slightly.

“Time In a Bottle” — YUNGBLUD
Scene: Early film montage contrasting Hobbs’ crack-of-dawn routine with Shaw’s sleek London start; a calm-then-chaos needle-drop that flips sentiment into swagger. Non-diegetic.
Why it matters: Establishes tone through irony and announces the soundtrack’s willingness to play against picture.

“Next Level” — A$ton Wyld
Scene: London car-chase energy cue (McLaren vs. superbikes); commonly used in marketing, it mirrors the sequence’s precision cutting. Non-diegetic.
Why it matters: Becomes the film’s de facto hype theme; later re-imagined in pop culture via aespa.

“Masta” — Tha Movement & Anonymouz (feat. Poetik, SMV, King Kapisi, MC Arme, Kas Tha Feelstyle & Mareko)
Scene: Samoa section — homecoming prep and stand-off energy; Pacific voices front and center. Non-diegetic, culturally aligned with the on-screen siva tau and family rallying.
Why it matters: Authenticates the setting and shifts the franchise’s “family” theme from slogan to lived community.

“All Roads Lead Home (Hobbs & Shaw Remix)” — Ohana Bam feat. Token
Scene: Feel-good momentum cue tied to reunion/gear-up beats and reprise around credits. Non-diegetic.
Why it matters: Hooks the “returning home” motif and gives the third act a hands-in-the-air lift.

“Even If I Die (Hobbs & Shaw) [Hybrid Remix]” — IDRIS feat. Cypress Hill
Scene: End credits.
Why it matters: Cast-to-soundtrack crossover; caps the film with a villain-adjacent banger.

“Better As One” — The Heavy
Scene: Team-up swagger cue underscoring begrudging cooperation beats. Non-diegetic.
Why it matters: Title says it all — musically underlines the film’s thesis.

Score spotlight — “Samoa Siva Tau” — Tyler Bates
Scene: The ceremonial build into the island showdown (chants, drums, low brass).
Why it matters: Bridges diegetic ritual and non-diegetic score; honors the culture while keeping action stakes high.

Music–Story Links

• Irony as character read: The tender opening cover cues up Hobbs/Shaw as opposites who weaponize calm — a stylistic wink that makes their first brawls funnier.
• Team-up motif: “Better As One” and “Next Level” both point the story toward cooperation — first as attitude, then as necessity.
• Home as power source: “Masta” and Bates’ siva tau cue root the climax in place and ancestry, paying off the story beat of Hobbs reconciling with Jonah and the extended family.
• Villain echo: The end-credits Elba/Cypress Hill track doubles Brixton’s self-mythology — the movie lets the bad guy get the last musical word, after the heroes win.

How It Was Made

Tyler Bates’ score fuses drum-forward action writing with synth grit and orchestra for scale; it’s cut to Leitch’s editorial rhythms. Back Lot Music handled both releases (songs and score). On the song side, the curation balances franchise-ready hip-hop and alt-rock with a Pacific spotlight for the finale. “Masta,” created by Sāmoan and Kiwi artists, was placed in the Samoa section; it’s one of the film’s most purposeful syncs.

Trusted source call-outs: Film Music Reporter, Los Angeles Times, and Screen Rant all documented key music details at release.

Reception & Quotes

“The finale in Samoa gives the movie its heart — and the music finally breathes with it.” Critic round-ups

“Bates’ cues keep the pedal down while the needle-drops land like exclamation points.” Trade coverage

“‘Next Level’ does the heavy lifting for hype.” Fan consensus

Availability: the songs album and the score album are both widely available on major streaming platforms via Back Lot Music.

Additional Info

• The songs album arrived July 2019; the score album followed within the film’s opening week.
• “Next Level” later spawned a high-profile K-pop cover (aespa) that crossed back into the Fast fandom.
• Idris Elba’s contribution appears twice on the songs set (remix + version), matching film + credits usage.
• Official playlists mirror the film’s cues beyond the core album selections.
• The Pacific sync choices aligned with on-set cultural advisors and the film’s Samoa focus.

Technical Info

• Title: Fast & Furious Presents: Hobbs & Shaw (Original Motion Picture Soundtrack)
• Year: 2019
• Type: Various-artists songs album; separate original score album
• Score Composer: Tyler Bates
• Label: Back Lot Music
• Notable placements (songs): “Time in a Bottle” (YUNGBLUD), “Next Level” (A$ton Wyld), “Masta” (Tha Movement & Anonymouz), “All Roads Lead Home (H&S Remix)” (Ohana Bam feat. Token), “Even If I Die (H&S) [Hybrid Remix]” (IDRIS feat. Cypress Hill)
• Release context: Songs album released the week before the U.S. theatrical opening; score album released during opening week
• Availability: Major streaming platforms; digital purchase via standard retailers

Canonical Entities & Relations

Sources: Back Lot Music; Film Music Reporter; Screen Rant; Los Angeles Times; IMDb; Wikipedia; The Coconet TV; Spotify; Apple Music.

November, 09th 2025