Formula One’s Return to the U.S. and Taylor Swift’s Eras Tour

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As Formula One makes its much-anticipated return to Austin, Texas, this weekend for the United States Grand Prix, another significant event is taking place at one of its American venues. Miami’s Hard Rock Stadium, which hosted the grand prix earlier this year, is gearing up for three nights of Taylor Swift’s record-breaking Eras Tour, marking the final stretch of her North American dates.

In recent years, both Formula One and Taylor Swift have experienced remarkable surges in popularity, albeit in entirely different arenas. Interestingly, their paths crossed eight years ago at the Circuit of The Americas (COTA). The 2015 event, where Swift performed a concert the Saturday night following the qualifying rounds, proved to be pivotal for the future of the United States Grand Prix—an event that has since become a cornerstone of Formula One’s rapid expansion in America.

Key Insights from COTA’s Evolution

“It was a big-dollar commitment at the time, and it paid off,” remarked COTA chairman Bobby Epstein in an interview with The Athletic. “We’re grateful to Taylor for taking the chance.”

Fast forward to today, and F1’s current presence in the U.S. with three races would have seemed unimaginable just a decade ago when having a single grand prix in America was a significant achievement. There had been a five-year hiatus for F1 in the U.S. from the last event at Indianapolis in 2007 until its return in 2012 at COTA, the first purpose-built facility for the sport in the country.

COTA quickly gained favor among drivers for its challenging, undulating layout and became a fan favorite. The inaugural year attracted an impressive attendance of 265,000 over the course of the race weekend, a figure that has drastically increased, culminating in a reported 440,000 attendees in 2022. However, despite its strategic scheduling toward the end of the season, which often influences championship battles, generating sustained interest remained a challenge. Attendance figures saw a decline, dropping to 250,000 in 2013 and further to 237,000 in 2014.

Weather Woes and Financial Challenges

The 2015 race raised serious concerns about the future of the grand prix in Austin. Hurricane Patricia unleashed record rainfall and fierce winds on the region, leading to the cancellation of FP2 and a postponement of qualifying to Sunday morning after extensive delays. Fans faced a daunting experience as they navigated muddy parking lots, further dampening spirits.

Despite the challenges, Sunday’s grand prix proceeded as scheduled, with Lewis Hamilton securing his third world championship title. However, weekend attendance dwindled to just 224,000, leading to heightened worries about the event’s viability. Adding to the pressure, Governor Greg Abbott’s office announced a cut of $6 million in state funding shortly after the race, prompting Bernie Ecclestone, then F1’s CEO, to express doubt about the race’s future in Austin.

Faced with these hurdles, Epstein and his team sought innovative ways to revitalize the event and ensure its longevity. “We had a lot of people very upset about the experience they had with the rain and the mud, and we needed to make it up to them,” Epstein reflected. “We put in a lot of sidewalks, paved numerous parking lots, and improved our bus services. Additionally, we wanted to enhance the overall experience.”

The Taylor Swift Factor

In this context, Taylor Swift emerged as a crucial element in COTA’s revival strategy. Known for its vibrant music scene, Austin had always aimed to incorporate concerts into race weekends as part of its identity. Previous headliners included Kid Rock and Elton John, but as plans took shape for 2016, Epstein’s team aimed to secure the biggest star possible.

Contacting Swift’s team, Epstein discovered that she had no performances scheduled for that year, having spent 2015 on her “1989” world tour. This presented a unique opportunity—fans eager to see Swift would need to attend the F1 race. Consequently, a three-day general admission ticket, starting at $150, transformed into a much-coveted item that included concert access.

“We faced significant criticism from race fans when we announced we would bring in a performer like that, with concerns that it would distract from the racing experience,” Epstein admitted. Ecclestone himself humorously questioned whether it was worth bringing F1 cars to COTA at all.

On the Saturday of qualifying, after witnessing Hamilton and Mercedes dominate the front row, 80,000 fans lingered into the evening to enjoy Swift’s concert from the infield. The performance marked one of her highest-attended shows at that time, featuring 15 songs primarily from “1989” and “Red,” including a debut performance of “This Is What You Came For,” co-written by Swift for Calvin Harris and Rihanna.

Critics hailed the concert as a resounding success, with Billboard praising it as a “knockout performance” and Rolling Stone noting that it showcased Swift’s unwavering prowess as a top-tier artist. She closed the set with “Shake It Off,” perfectly encapsulating the revitalized atmosphere of the weekend.

After the previous year’s struggles, COTA rebounded spectacularly, drawing a record crowd of nearly 270,000 fans who enjoyed favorable weather, thrilling racing, and memorable music. This marked a significant turning point, affirming that F1 had a promising future in Austin.

Moreover, Swift’s concert attracted a diverse audience, bringing in younger fans, more women, and families. “Looking back, we feel validated for the vision we had to enhance the race experience and allow fans to bring their loved ones,” Epstein noted. “You can offer a full entertainment experience without compromising the quality of the race itself.”

The Future of F1 in America

The shift in F1’s demographic toward a younger and more diverse audience has been a key factor in its recent growth, particularly during the “Drive to Survive” era. However, Epstein believes COTA was ahead of the curve, thanks to its off-track entertainment offerings. “We might not receive the credit we deserve, but we truly believe we initiated this trend,” he stated.

“Our concerts featuring artists like Taylor Swift, Justin Timberlake (2018), and Ed Sheeran (2022) have drawn in younger fans who connect with these artists on social media platforms like Instagram, rapidly reaching that demographic.”

Today, COTA’s model of incorporating major musical acts into race weekends has become a standard practice across F1. Under Liberty Media’s ownership, which began in early 2017, grand prix events have evolved into multi-day experiences where off-track entertainment is integral to fan engagement.

Even with new American races in Miami and Las Vegas, each offering its own unique appeal, the concert aspect continues to be a vital component of the United States Grand Prix in Austin. This year, Sting will headline on Friday, followed by Eminem on Saturday night, marking his only live show of the year, similar to Swift’s performance in 2016.

Epstein anticipates that the improvements made at COTA will likely surpass Swift’s attendance record and attract a crowd of over 100,000. “It’s a fun event to play, given the whole setting,” he expressed. “Artists and their agents recognize this now. COTA has established credibility, and being the headliner for the United States Grand Prix is an honor in its own right.”

With more than a year until the 2025 race—marking a decade since F1’s low point in Austin, when the sport’s future in the U.S. appeared uncertain—Epstein is already actively discussing potential headliners. “We have some exciting conversations happening for 2025,” he revealed.

Top photo: Sipa USA