Honestly, it’s rare that a movie soundtrack feels as fast as the cars on screen. But F1 The Album is a weirdly perfect collision of pop glitz and burning rubber. Most people expected a generic collection of radio hits. What we actually got was a curated, high-octane 17-track beast that officially dropped on June 27, 2025.
It's not just background noise.
The project was spearheaded by Atlantic Records, the same folks who turned the Barbie soundtrack into a cultural movement. They clearly used that same playbook here. You’ve got Ed Sheeran, Rosé, and Tate McRae sharing space with the legendary Hans Zimmer. It’s a lot to take in. You might think a country star like Chris Stapleton wouldn't fit next to Tiësto, but somehow, in the context of the fictional APXGP team’s journey, it works.
Why F1 The Album Is More Than Just a Marketing Tool
When Joseph Kosinski (the guy behind Top Gun: Maverick) decided to film a Formula 1 movie, he didn't just want it to look real. It had to sound real. The music needed to mimic the "dirty air" and the high-frequency whine of a V6 turbo-hybrid engine.
The standout track for most listeners is probably the lead single, "Lose My Mind" by Don Toliver featuring Doja Cat. It was the first taste we got of the project back in April 2025. The coolest part? It actually samples the main F1 theme composed by Hans Zimmer. That’s the "connective tissue" that keeps the pop songs from feeling like they belong in a different movie.
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The Heavy Hitters on the Tracklist
- Ed Sheeran – "Drive": Fun fact, John Mayer actually contributed to this one. It’s got that classic Sheeran hook but feels a bit more "neon-drenched."
- Rosé – "Messy": This was the second single. It’s a sleek, synth-pop track that shows off her vocal range without being a typical K-pop anthem.
- Tate McRae – "Just Keep Watching": Produced by Ryan Tedder, this is basically the sonic equivalent of a qualifying lap. Short, intense, and catchy.
- Chris Stapleton – "Bad As I Used To Be": This is where the grit comes in. It clocks in at five minutes and feels like a weary driver reflecting on a long career.
It’s an eclectic mix. You’ve got the African-fusion vibes of Burna Boy on "Don't Let Me Drown" and the house music energy of Dom Dolla. Honestly, having Tiësto and Sexyy Red on a track called "OMG!" is the kind of chaotic energy that only a Jerry Bruckheimer production could pull off.
The Hans Zimmer Factor: Scoring the Speed
While the pop album gets the headlines, the actual soul of the film lives in the F1 Original Score. Hans Zimmer didn't just phone this in. He teamed up with Tim Henson—the guitar wizard from Polyphia—to create something that feels futuristic but visceral.
Henson apparently laid down over 40 minutes of guitar work. If you listen to the opening track, simply titled "F1," you can hear those complex, math-rock guitar flourishes weaving through Zimmer’s signature massive synths. It’s a "gunslinger" motif for Sonny Hayes (Brad Pitt’s character). It’s cheeky. It’s robust. It sounds like a guy who knows he’s too old for this but is going to do it anyway.
The score has 15 tracks on the "Cinematic Edition."
Some of them, like "Red Flag" and "Elbows Out," are pure adrenaline. Others, like "Tell Me About Kate," are surprisingly quiet. Zimmer uses a Dorian mode for the main theme, which gives it this weird balance of "we might win" and "we might crash."
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What Critics and Fans Are Saying
The reaction has been... split. Some purists think the pop album is a bit much. They wanted more of "The Chain" by Fleetwood Mac—which is the unofficial anthem of F1 for many. While that didn't make the official soundtrack album, the movie is full of needle drops that satisfy the old-school fans.
On the other hand, the soundtrack has been a massive streaming success. By the time the movie hit theaters in mid-2025, several tracks were already staples on global playlists. Damson Idris, who plays the young protégé Joshua Pearce, even won an African-American Film Critics Association award for his role, and many pointed to how the music elevated his performance during the racing sequences.
Realism vs. Radio Play
There's a specific tension in F1 The Album.
Is it trying to be an authentic representation of the sport, or is it trying to sell records?
The answer is both.
The inclusion of artists like Peggy Gou and PAWSA reflects the actual party culture that surrounds races in places like Miami and Monaco. If you’ve ever been to a GP, you know the music is loud, electronic, and constant. The soundtrack captures that "circus" atmosphere perfectly.
Key Tracks You Should Listen to First
- "Baja California" by Myke Towers: It samples Black Sheep’s "The Choice Is Yours." It’s got that lowrider, sun-soaked feel that fits the off-track scenes perfectly.
- "Grandma Calls The Boys Bad News" by RAYE: Produced by Mark Ronson. It’s soulful, brassy, and adds some much-needed texture to the middle of the album.
- "Gasoline" by Obongjayar: This is probably the most "underrated" track on the list. It’s raw and driving, literally.
Final Take on the Sound of F1
Look, if you're a hardcore fan of the technical side of the sport, you might find the Sexyy Red track a bit jarring. But as a complete package, F1 The Album is probably the most ambitious sports movie soundtrack since Space Jam or The Fast and the Furious.
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It doesn't just stick to one lane.
It pivots from Latin trap to country-rock to synth-heavy film scores without losing the plot.
If you want to experience the full range of the movie, start with the Hans Zimmer score to understand the emotional stakes, then move to the Atlantic Records pop album for the "race weekend" vibes. You can find both on all major streaming platforms, and for the collectors, there’s a "Red" colored vinyl edition of the Zimmer score that looks incredible.
Your Next Steps:
- Stream "Lose My Mind": Pay close attention to the background synth—that’s the Zimmer sample.
- Listen to the Score: Specifically the track "F1." It’s the best example of how Tim Henson’s guitar work changes the "Zimmer sound."
- Check the Credits: Look for the production work by Ryan Tedder and Mark Ronson to see how they shaped the "sound" of modern racing.