For decades, a hit movie soundtrack has had the power to launch a film beyond the big screen and into the pop culture conversation at a much deeper level. From Saturday Night Fever to the Bodyguard to Despicable Me 2 via Pharrell Williams’s “Happy,” audiences don’t just remember the stories, they hum the songs for years, or perhaps even decades after the movie leaves theaters.

This summer, Apple and Atlantic Records are betting that F1, Joseph Kosinski’s adrenaline-fueled look at the world’s fastest sport, will continue that tradition. Judging by the ambitious, cross-genre soundtrack — which is packed with original tunes from superstars like Doja Cat, Chris Stapleton, Ed Sheeran, Tate McRae and Rosé — the odds look good.

Produced by Jerry Bruckheimer – who knows a thing or two about placing a smash song into a film – and directed by Kosinski, F1 was always envisioned as a global spectacle. It wasn’t until production began on real racetracks across the world that Kosinski realized how important a role music would play in the film.

“That came from going to a bunch of races and seeing how much there is kind of soundtrack to them,” he explained during a recent conversation about F1. “There’s almost like a festival — [there’s]

an atmosphere to the events themselves.” To capture that energy, he and his collaborators made sure the film’s musical DNA was as diverse and international as the sport itself. “I wanted the soundtrack to have a global nature to it because the sport is so global,” he added. “I liked the idea of featuring music from all around the world.”

That global spirit is more than a marketing slogan. For Atlantic Records, the label behind the Barbie and Twisters soundtracks, the goal was to create an album that could stand on its own, while also feeling organically tied to the film, as the projects connected to those two previous blockbusters became.

Kevin Weaver, Atlantic’s President, said he and David Taylor, Head of Music, Apple TV+ & Original Films, were deliberate from the outset. “F1 is a massive global brand,” Weaver shared. “We really were deliberate in trying to A&R and aggregate new music that felt very global and very broad and hit multiple genres.” Taylor echoed that focus on worldwide authenticity, saying, “The teams are a huge part of the community and culture of F1, and music is a universal language… We let the movie help guide us with how to…find artists and music that feels representative.”

It’s a strategy that sounds and feels like it will pay off. F1 features 15 original songs in the film and 17 on the official soundtrack, and the bevy of tunes includes pop, rap, Latin, Afrobeat, and electronic influences. That cross-genre approach to curating the album mirrors the vibe of Formula 1 itself. “Similar to that of the drivers — if you look at them, they’re from all different countries, they all have their music tastes,” Taylor noted.

The film’s most high-profile musical moment comes in the form of “Lose My Mind,” an anthem crafted from a collaboration between Hans Zimmer, Doja Cat, Don Toliver, and producer Ryan Tedder. The song started as a cinematic theme Zimmer composed, the kind that carries a melody tailor-made not just for an action-packed summer flick, but also a top-notch pop song.

“Hans had a rough of the F1 movie theme,” Weaver recalled. “We had set out to see if there was a path to accomplish taking that, interpolating it, flipping it, and turning it into a modern kind of pop-type anthem record.” Taylor added, “We just iterated, iterated, and it turned out great.”

“Lose My Mind” served as the lead single from F1, and the pop/dance/rapped hybrid earns a very special spot in the movie itself. So far, the track hasn’t become a breakout smash – it peaked at No. 20 on the Bubbling Under Hot 100 – but the release of the movie itself may change the cut’s fate.

The process of finding the right music for the hugely-anticipated movie was nothing new for Kosinski, as the director is already known for his use of sound and songs. From the futuristic tones of Tron: Legacy to the M83-created score for Oblivion, or the nostalgic score of Top Gun: Maverick, he’s managed to do so before – and he relied on a genre he’s focused on in the past.

“Electronic music actually has the ability to do that,” Kosinski explained while discussing the difficulty that comes with finding songs and a score to rise above the roar of car engines. “Which is why even parts of the score that Hans did are very electronic… He was excited to go back, fire up the old synth collection, and build a score using that kind of palette.”

F1’s chances of becoming commercially successful on the music front are helped by Atlantic, which has become something of a go-to label for blockbuster soundtracks. The company’s recent success with Barbie and Twisters in back-to-back years not only set a high bar, but established a business model where music drives cultural conversation, and helps generate long-term interest in the movie.

Bruckheimer, who has been in the producer’s chair for a number of films that claim some of the most memorable soundtracks of the past 40 years, praised the partnership. “Kevin’s a very enthusiastic guy and he delivers, and that’s what you want,” he said. “You want somebody who’s got great musical taste and delivers what you need.”

But even with all the planning and star power, Bruckheimer insisted that the priority was always the film itself, and not just about scoring a chart smash or earning award nominations. “It’s always about the emotion that the song creates in the scene and playing it,” he stated. “And if it becomes a huge hit, that’s fantastic…but the movie’s got to work. If the movie works, the music — everything — works.”

Still, no one denies that a hit song can elevate a movie’s legacy. Bruckheimer has seen it firsthand, via films like Top Gun, Flashdance, Armageddon, American Gigolo and countless others. “I think it helps if you have a song that’s moving up on the charts,” he said. “It certainly helps promoting the movie, and we’ll use it in advertising.” Kosinski agreed, describing how the right tune can push a project beyond its core audience: “Music has this amazing ability to spread far and wide," and the director added the music can sometimes be “bigger than the film." ”Some of my favorite albums are film scores and soundtracks.”

The result is an album that feels as big as the film itself. When audiences sit down to watch Brad Pitt and Damson Idris speed down racetracks in countries all around the world, they’ll hear songs designed to perfectly match the scope and size of the picture. Everything is big and loud – the way a summer blockbuster is supposed to be.

The soundtrack’s diversity also means there’s a good chance at least one of its tracks will break out into the mainstream, and perhaps even earn some love months from now at major award ceremonies, like the Golden Globes, the Grammys, and, perhaps most important of all, the Academy Awards.

Whether any single track will become this year’s “Dance the Night," “What Was I Made For?” or "Ain’t No Love in Oklahoma" is yet to be seen, but even before its official release, F1 is on the precipice of showing that a blockbuster film with a world-class soundtrack is still one of the most powerful combinations in entertainment. There’s a lot of excitement around the movie, as well as massive expectations – and hopes that the music will help the project remain culturally relevant long after the summer is over.