NEW YORK — Formula One, renowned as the zenith of motorsport, isn’t just about speed; it carries its unique symphony. There’s the roar of a powerful six-cylinder engine pushing the redline at 15,000 revolutions per minute, the sounds of daring maneuvers in DRS zones, and the big-name musical acts that light up the race events. So, when creating the blockbuster movie “F1” featuring Brad Pitt and Damson Idris, it was essential to ensure the film’s soundtrack was just as monumental.
To achieve this sonic feat, the project employed a score by the legendary Hans Zimmer. Additionally, “F1 The Album,” released by Atlantic Records on the same day as the film, June 27, promises a dynamic audio experience akin to that of Atlantic’s acclaimed “Barbie” album. This album is set to feature exclusive music from artists such as Chris Stapleton, Myke Towers, Rosé from Blackpink, Tate McRae, and many others, curated by the film’s creators Jerry Bruckheimer, director Joseph Kosinski, and Atlantic Records’ Kevin Weaver.
An Ideal Partnership
Years of crafting “F1” involved Kosinski earmarking significant musical moments throughout the film, as Weaver, who spearhearded the project, recounts. His team at Atlantic transformed these outlines into soundscapes, matching songs, artists, and songwriters with the film’s requirements, in collaboration with soundtrack producers Kosinski and Bruckheimer. They tapped into their roster, like Ed Sheeran and Rosé, and sought expertise beyond.
“It primarily revolves around what the film demands,” Weaver reflects. “The objective is finding the voice that perfectly aligns with specific parts…who can narrate the story as Joe and Jerry envision?” Moreover, the movie needed striking and tailored compositions to echo its intensity, integrating timeless rock classics like Queen’s “We Will Rock You.” While all tracks on “F1 The Album” are exclusive creations, Tate McRae’s aptly named “Sports Car” didn’t make it; she instead contributed “Just Keep Watching.”
Atlantic, through Weaver, frequently tested the pairing of music with film sequences in the editing studio. Bruckheimer elaborates, “If there’s a race scene needing a musical conclusion, Weaver would test perhaps ten tracks, and the best fit prevails—not necessarily the expected hit or big artist.”
A Global Focus and Diversity of Talent
“The soundtrack had to mirror F1’s global essence,” confirmed Kosinski. That meant engaging international talent to emulate the sport’s diverse spirit. Ferrari’s Lewis Hamilton, a consultant on the project, emphasized this global inclusion from the outset, Kosinski explains.
“We sometimes have a narrow cultural perspective in Hollywood,” Kosinski admits. “F1’s eclectic nature inspires greatly.” He shared soundtrack drafts with Hamilton for feedback, recalling, “I sent the Burna Boy track—Lewis foresaw massive success.”
“We deliberately embraced genre and demographic diversity,” Weaver mentions. “We included pop, Afrobeat, electronic, and country music.” The outcome? A compilation of 17 universally appealing tracks, offering the vibrancy akin to a major summer music fest.
“It’s phenomenal,” Bruckheimer asserts, “the soundtrack complements every scene seamlessly.”
Varied Approaches by Artists
Contributors to the “F1” soundtrack found inspiration through diverse channels. “Sometimes we’d involve an artist right with a scene, like Rosé,” notes Kosinski. The same went for Chris Stapleton. Alternatively, some artists received simple themes to guide their creations, fine-tuning them later to suit specific scenes.
For Ed Sheeran, Kosinski devised ten poignant phrases to inspire lyrics, focusing on “Sonny Hayes,” played by Pitt. Sheeran’s composition “Drive,” crafted with John Mayer and Blake Slatkin, was designed “for the movie’s finale,” as Weaver adds, “representing Brad Pitt’s character’s arc.”
Certain artists share profound links to Formula One—like DJ Tiësto, who regularly performs at F1 events. When approached about the film project, he eagerly participated, even portraying himself in a vivid Las Vegas scene. “This,” he jests, “deserves an Oscar.”
“This was effortless,” Tiësto reflects. “Dance music and racing both convey high energy. F1 complements the global unity beautifully.” For the Dutch DJ, his collaboration included the track “OMG!” featuring Missouri’s Sexyy Red. “She adored the track, contributing powerful lyrics,” he shares.
For rapper Roddy Ricch, this soundtrack was an invite to greatness, “to be among elite company,” he notes, citing Doja Cat and Don Toliver. He contributed “Underdog,” conveying the endurance through metaphorical races.
“In life’s race, doubts and pressures occur,” he emphasizes about the song’s theme, “Persevere—the marathon continues.”
Director Kosinski hopes listeners gain discoveries from the album, “Finding a new artist…if not an F1 fan, perhaps gaining interest or passion for the sport.”