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With the release of F1: The Movie in theaters this weekend, Formula 1 racing is traveling to “The Land of Beauty and Music” for the 2025 Austrian Grand Prix at Red Bull Ring in Spielberg, Austria. The racing event kicks off Friday (June 27) with practice sessions until race day on Sunday (June 29), at 9 a.m. ET/6 a.m. PT.

ESPN and its networks livestream F1 Austrian Grand Prix for you to watch at home. And the easiest way to tune-in to the motorsport event online without cable is with Hulu + Live TV.

Keep reading to learn more.

How to Watch F1 Austrian Grand Prix Online for Free

ESPN is available through Hulu + Live TV with its current three-day free trial, you can watch F1 Austrian Grand Prix for free.

Hulu + Live TV offers the most streaming options with access to more than 95 live channels including ESPN, as well as Hulu’s entire library. It starts at $82.99 per month, while Hulu + Live TV comes bundled with Disney+ and ESPN+ for no added cost.

Although it’s unclear if there are any musical performances during the motorsport event, film composer Brian Tyler wrote the F1 main theme that’s played at every grand prix.

While practice sessions and qualifiers start on Friday (June 27), you can livestream F1 Austrian Grand Prix race day on Sunday (June 29), which airs in the U.S. beginning at 9 a.m. ET/6 a.m. PT. The best way to watch is on Hulu + Live TV with the streamer’s three-day free trial.

Want more? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.

To most music companies, AI is just a practical issue — a problem to be solved, an opportunity to be seized, or some combination of the two. With the right combination of legislation, litigation and consternation, the same generative AI technology that now threatens to dilute streaming royalties could allow another set of rights to be licensed to another group of technology startups. This will not be easy — witness the industry’s efforts to stop the UK from loosening its copyright laws — but at least it’s relatively straightforward.

To songwriters and the organizations that represent them, this is all more complicated. Control over works is often shared (both among writers and between writers and publishers) and rights are often divided (among publishers and various collecting societies that represent public performance rights, mechanical rights, or some combination of the two). In Continental Europe, where copyright is more akin to a fundamental right than an economic one, the threat of AI also cuts deeper. It “raises fundamental questions about the nature of authorship and creativity,” wrote Björn Ulvaeus, frontman of ABBA and President of CISAC, the global trade organization of collecting societies, in his introduction to CISAC’s 2025 annual report. Ulvaeus sees potential in AI, properly regulated, but “this is about upholding the entire system of copyright and authors’ rights.”

CISAC, which had its annual general assembly meeting in Sofia, Bulgaria, on May 28 — as part of several days worth of meetings — not only advocates for the rights of creators (defined in the music business as songwriters) but maintains the interlocking technology and financial infrastructure that makes it possible for collective rights management organizations to remit money to one another. To say that most of this happens behind the scenes is putting it mildly: One of the major topics was the modernization of CIS-Net, which manages the way the various collective management organizations exchange data.

“You may think you see here a famous musician and songwriter,” Ulvaeus said during a speech delivered over video. “But I have a confession to make: what really fires me up these days is… data.” He’s serious: “Data is about money in the pockets of creators.”

The big concern was AI, though. To CISAC, the technology presents a series of interlocking problems: How to license it legally, which is the same issue other rightsholders face now that the major labels are talking to Suno and Udio. This is complicated enough. And labels can potentially license rights to all of the recordings in their catalogs. Licensing songs is more complicated, because different societies have different rights for different uses in different jurisdictions. Plus, the European tradition in which most societies have roots focuses more on the inherent rights of creators. It is possible, although not especially likely, that a creator could argue that the use of his or her song in an AI-generated work is a violation of their moral right to their work. More likely, European societies will find themselves at odds with publishers over who can license mechanical rights to copy songs for the purposes of training generative AI algorithms.

Before then, countries need to agree on some basic regulations for copyright and AI — and much of the conversation in Sofia focused on how to get there. In his speech, Ulvaeus identified “three key priorities that are the anchor of our position”: That AI training be subject to transparency rules; that creators can license their own works; and that creators be guaranteed remuneration.

The first is the big one: Now that it seems clear that at least some generative AI companies have already trained their algorithms on massive number of works, how will anyone figure out who to compensate when that AI creates new works? Any working AI economy has to be transparent. The other two might cause some disagreement within the music business, though. Different countries have different practices about who licenses mechanical rights, and a right to remuneration is a European idea, since it has some potential to operate around existing business contracts.

CISAC Director General Gadi Oron also gave a speech about the practical side of the organization’s lobbying work. Right now, the most important AI regulation is in the EU, which no one regards as close to perfect but most people seem to think is pretty good. It is already coming under pressure, though, as technology companies push back against some of its permission requirements. This is legislation that was passed already, mind you, and it just shows how big a fight this is going to be. On most of the important issues, labels and other rightsholders are aligned — but they disagree significantly on others. This, too, is likely to involve litigation, legislation and, probably most of all, consternation.

The fear is that the publishing side of the business will come in to arrange deals after labels already have theirs, which limits their negotiating leverage. Maybe. But CISAC’s members have the weight to assert themselves, even though most of them answer to both publishers and songwriters, who don’t always see eye to eye, either. All of the current negotiations to legalize AI are just the beginning.

Luke Combs has been in the studio working on his next project, and he is already giving fans an early listen of some of the new music he and his musical cohorts have been concocting.

“Couldn’t wait to show y’all this one,” he captioned a video posted to X on Wednesday (June 25), previewing a song called “Back in the Saddle” written with songwriters Jonathan Singleton and The Brothers Hunt.

In the video, Combs is crafting the song with his co-writers. Over a swampy acoustic guitar tone, he sings, “I’ve been gone for a little too long/ I’ve been waitin’ on a drummer to kick off a comeback song/ I’ve been waitin’ in the wings like a dog on a chain.” Later, he croons, “‘Cause I’m back in the saddle like some old cowboy who dug his way out of his grave.”

After spearheading his massive Growin’ Up and Gettin’ Old Tour across the United States last year, Combs has spent the majority of 2025 so far away from the road, though he has played top-shelf festivals including Stagecoach and Bonnaroo. Back in March, he told fans on X, “I’ve been spending the last couple of weeks working on what my next record looks like, and as it begins to take shape I can honestly say I’ve never felt better about one at this stage. It’s early on but I really do think it could wind up being the best record I’ve ever made.”

Combs has steadily been teasing new music on his socials, including the song “My Kinda Saturday Night.” He also recently teamed with Jon Bellion for the song “Why,” which reached No. 8 on the Country Digital Song Sales chart. Meanwhile, Combs’s collaboration with Bailey Zimmerman, “Backup Plan,” is currently at No. 12 on Billboard‘s Country Airplay chart.

See the video of Combs’ sneak peek into his new music below:

Couldn’t wait to show y’all this one. It’s called “Back in the Saddle.” Wrote it with @jsandthegrove and @TheBrothersHunt pic.twitter.com/Lwu2Cdr81y

— Luke Combs 🎤 (@lukecombs) June 25, 2025

In 2019, Vivian Belzaguy Hunter sat at her desk and cried.

These tears were, in fact, joyful. Belzaguy Hunter had just learned that the event for which she runs the sustainability program, Miami’s mighty Ultra Music Festival, had gotten a glowing review from volunteercleanup.org, a local environmental organization.

In a report on the 2019 edition of Ultra, reps from volunteercleanup.org wrote that the fest “did an excellent job in reducing their landfill waste, increasing the capture of recyclable materials and engaging the attendees to protect the bay and park.” For its sustainability efforts, Ultra 2019 was given an A grade.

This success wasn’t assured. Four and a half months before the show, Ultra 2019 was forced to move from its longtime home in Miami’s Bayfront Park to Virginia Key, an environmentally sensitive island that’s home to a rich ecosystem of endangered and threatened species. A flurry of local organizations, volunteercleanup.org included, publicly opposed Ultra — with its tens of thousands of ravers in tow — moving to the site.

Belzaguy Hunter understood why. She’d spent the last few years working on sustainability efforts for a smaller electronic festival on Virginia Key, and in 2019 was asked to take the lead on an environmental plan for Ultra’s debut at the site — efforts required by local government in order for the fest to happen there.

“As a person protecting that park, I was opposed to it,” she says. “Then somebody told me, ‘Maybe you’re the one who needs to help them; you’re the perfect person to do it.’ That changed my mindset.” She accepted a position as head of the program, called Mission: Home.

Local organizations requested 13 initiatives that Ultra would do for environmental protection. The team delivered 20, focusing on reducing single-use plastics, incorporating recycling and leaving no trace on the island. The team did such a thorough deep clean that they got rid of debris that had been on Virginia Key since the 1970s.

While Ultra ultimately returned to Bayfront Park, after 2019, the festival’s leadership decided to make sustainability a priority. “Once we saw how amazingly this went in a super challenging and short timeframe,” Belzaguy Hunter says, “we wondered what we could do if we had a year to plan.”

Six years later, she knows. While Ultra Miami didn’t happen in 2020 and 2021 due to the pandemic, since 2022 (with 2019 stats included), Mission: Home has diverted 394,000 pounds of waste from landfills over the festival’s three days. At Ultra Miami’s most recent edition in March, the program diverted 96,537 pounds of waste, recycled more than 31,000 pounds of materials and saved nearly 19,000 pounds of usable food and beverages from going to waste. (Diversion refers to when waste that would have gone to landfill goes somewhere else, whether donated for reuse, repurposed, recycled, composted, etc.) 

While most attendees at the festival are not likely to be deeply considering sustainability while they rave, under the radar, the Mission: Home team is making Ultra one of the most sustainable festivals in the industry. Its whopping sustainability stats are a function of Mission Home’s focus on waste reduction, a core principle of the program alongside pollution prevention, nature preservation, climate action and community engagement.

“Waste is a thing we can all see is a problem,” Belzaguy Hunter says. “It’s a physical thing that actually affects the customer experience. To me, there’s nothing worse than going to a festival and not being able to dance because there’s trash everywhere.” More practically, significant progress can be made in waste reduction, given the number of strategies that exist to take it on.

For Mission Home, the first strategy is source reduction — eliminating items that aren’t truly necessary at the event. “You do not need straws,” says Belzaguy Hunter, “especially at a festival of this scale, there’s no reason to be giving out 100,000 straws a day.”

It’s not just a polite suggestion. Single-use plastics like cutlery, sauce tubs and plastic bottles containing anything other than water and sports drinks are banned at Ultra Miami, and vendors are contractually obligated not to bring them. “After three warnings, we will kick you out if you bring things to the festival that you’re not supposed to bring,” Belzaguy Hunter says. Styrofoam is also not allowed. (The only other single-use plastic allowed is a very limited number of champagne flutes in table service areas, as the team hasn’t yet found a sustainable alternative.)

Additionally, all materials brought onsite by food vendors and intended to be distributed to attendees must be able to be composted by backyard composting standards, as opposed to composting in an industrial composting facility. (To wit, many of the compostable plastic cups used by festivals are in reality only compostable at such industrial facilities, and thus often end up in landfills.) Instead, bars and other vendors use paper cups.

Belzaguy Hunter says many of these requirements are easy to get buy-in on, given that vendors save money by not purchasing prohibited items. “Sustainability consultants and managers often struggle with, ‘How do I get people to agree to do this?’” she says. “It’s like, ‘Well, save them money.’”

Mission: Home estimates that since 2019, in terms of beverage-specific waste alone, it’s avoided the use of 985,000 plastic cups, 1.2 million plastic bottles and 450,000 plastic straws, adding up to 2.6 million plastic items.   

The eradication of plastic is especially crucial given Bayfront Park’s location on, as the name indicates, Biscayne Bay. The festival would pose a great ecological risk if tons of plastic from the event ended up in the water, endangering animals and spreading microplastics. The Park also has bountiful trees and is home to wildlife like birds, squirrels and reptiles, “so my number one priority is making sure I’m not leaving a physical impact on this place,” says Belzaguy Hunter.

Crucially, since 2019, Mission: Home has partnered with Clean Vibes, a North Carolina-based company that responsibly handles on-site waste management for outdoor festivals and events. In operation since 1997, Clean Vibes has partnered with dozens of large and small-scale festivals around the country, including Electric Forest, Outside Lands and Bourbon & Beyond. The organization oversees Ultra’s waste management, from the robust recycling and composting programs to other waste diversion streams, which now include food and beverages, wood, furniture, miscellaneous supplies, glass, compost, soft plastic and cooking oil.

“When we first started working Ultra in 2019, we had numerous people laugh at us when we said we were going to recycle at a large event in Miami,” says Clean Vibes owner/manager Anna Borofsky. “They told us no one can successfully get people to recycle in Miami. We were very proud to prove them wrong, and to continue to prove them wrong year after year while helping the sustainability program continue to grow and evolve.”  

She adds that Ultra distinguishes itself from other festivals that Clean Vibes partners with by “ensuring that all staff on site help participate in our efforts.”

It was Clean Vibes that first alerted Belzaguy Hunter and her team that furniture from the VIP areas had landed in the trash. Now, this furniture — typically just lightly used — is picked up by people and organizations who can give it a new home. 

In 2025 alone, more than 29,000 pounds of wood, which largely comes from structures like the VIP areas and art pieces, was rescued or recycled. Beyond such sorting and moving of materials, the Clean Vibes team — which can be as large as 200 people during Ultra — also does a comprehensive deep clean of the Park, picking up trash and ensuring even the tiniest bits of litter are properly disposed of. 

Of all the waste diversion streams, however, Belzaguy Hunter’s favorite is the food and beverage rescue. The team realized the opportunity here in 2019, when the composting team told them that a lot of completely edible food landed in the composting stream.

“That broke my heart,” says Belzaguy Hunter. “But it was like, ‘That’s our priority for next year.”  
Since 2021, Ultra Miami has donated 65,000 pounds of food and beverages to Miami Rescue Mission, which provides food, shelter, substance use treatment, education, job placement and more to unhoused Miami residents. These donations begin on the first day of load-in and end when load-out is complete.

In partnership with CES Power, the program has also consulted with Showpower, the company that’s worked with Coldplay to transition their touring to clean battery power, to shift three of its stages to grid power, eradicating the need for carbon-spitting diesel generators. (Such generators are kept at these stages as backups, in case of a power outage.)

Altogether, Mission: Home encompasses 61 initiatives, with roughly 10 programs operating under each core focus. (The many editions of Ultra that happen around the world are put on by local producers with their own sustainability plans.) With a strong focus on community engagement, Mission: Home hosts shoreline cleanups, fundraisers for local non-profits and a long-term “leave no trace” campaign that educates those involved with the festival, from vendors to fans. Each year, the festival has an “eco village” area populated by booths from climate action organizations that share information and volunteer opportunities. At this year’s festival, attendees could write the name of a place in nature that’s special to them and pin it to a board alongside the names of other attendees’ special spots.

Belzaguy Hunter got started in the events industry 20 years ago, with her initial jobs focused on event marketing and production. Over time, sustainability became more important to her, which led to a feeling of disconnection when she saw heaps of waste at events.

“It really started to shock me,” she says. “Like, what is the point of me trying to do things on my own when here I am at an event creating way more impact in a day than I could in my lifetime?”

She eventually left her jobs, trained with Australia’s Sustainable Events Alliance and started consulting at events around Miami to gain experience, joining Ultra in 2019. As the festival’s director of sustainability, she works with three other people and an annual intern, emphasizing that programs like Mission: Home don’t really work without a dedicated team.

Her dedication has not only diverted millions of pounds of waste from landfills but has earned global accolades. In 2023, Mission: Home won a World Sustainability Award, a distinction that identifies leaders and companies from across industries that make sustainability core to their endeavors. This award followed Mission: Home being named the most extensive sustainability program among large-scale U.S. electronic music festivals by Debris Free Oceans in 2022, the same year it also became the first music festival of its scale in the United States to earn 2-star verification from Oceanic Global, an ocean protection organization.

Clearly, Mission: Home is doing something worth replicating, and something that can be achieved by any given event identifying its sustainability goals and putting a team and resources behind them. “See where you feel like you have an opportunity,” she says, “and take action.”