I ghostwrite Educational Email Courses for motorsport brands so they can turn fans into fanatics | Creative Director & photographer

I am the founder of The Commercial Table, where I talk about the commercial world of sports and entertainment. 

We also help commercial executives turn partnerships into revenue through the newsletter and consulting practice.
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My career is far from traditional, almost paying catch-up at times - I spent 10 years as a photographer before transitioning to writing, lived across three countries (with more airport mishaps than I care to count), and somehow found my way into the niche world of motorsport marketing without ever fully stepping into the corporate world.
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My approach to LinkedIn mirrors largely my personality - more listening than speaking, trying to be more authentic than polished. My theory is If you treat LinkedIn like Twitter in 2021, you'll win. I am obsessed with how comedians and TV shows write, have dreams of working on a screenplay someday, and can talk your ear off about tennis.

I have coached 30+ clients globally, earned LinkedIn Top Voice recognition, and built my business by following curiosity and scratching my own itches - and putting ideas into action.

Nirupam Singh

Liberty Media shared its Q4 2025 earnings with one number standing out (at least for me)

Sponsorship now makes up 21.7% of F1's total revenue.

That might not sound dramatic, but there is more in the details.

F1 revenue hit $3.9 billion for the year, up 14%. Sponsorship grew faster than race promotion or media rights. And Liberty specifically called out "growth in digital advertising revenue" as a driver.

This shift reveals a new type of partner coming to the table.

This is the sponsor roster they highlighted: Disney, LEGO, Pepsi, Apple, Standard Chartered.

Consumers' brands have shifted their perception of this sport.

Here are a few reasons why:

1/ Activation expectations are changing
Consumer brands at this are doing more integrated campaigns (or they should be). The partnership teams servicing these deals need to operate more like agencies and as sales teams, perhaps why people are catching up.

2/ Digital becomes a core revenue stream
When Liberty calls out digital advertising growth in an earnings report, it signals that F1's owned channels are becoming monetizable assets. F1 TV, social platforms, the app. The core fans will naturally be upset that this is no longer a sport, and they wouldn’t be wrong.

3/ The bar for new sponsors is higher than ever
If you're a brand trying to enter F1 now, you're competing against companies with massive creative budgets and global reach. The question isn't just "can you afford it?" but "can you activate at the level the sport now expects?"

Kim Hobson wrote a great piece on this exact gap — how most F1 partnerships default to one-off assets rather than a season-long campaign architecture. 

The teams that help partners build that structure will win the next wave of deals, but they will also need strong teams to supply that work.

Helping people master the commercial playbooks in motorsport | Founder @ The Commercial Table

Claude and Williams' F1 partnership proves that not every partnership announcement has to be over-the-top

Earned media will pick it up, so the focus should really shift to: 

What can we say about this partnership without shouting it? 

The bare minimum should be a simple video from the founders at Anthropic announcing: 

1. Why it's happening 
2. Why should people care 
3. What can people expect 

I'm sure this video wasn't easy to execute, but it also doesn't demand your attention like a screaming toddler.

Cool partnership, hope we see some unique activations

Most of the motorsport industry operates out of the UK.

I'm based in Toronto.

For a while, I assumed that was a problem. The events, the teams, the decision-makers — they're all an ocean away. 

I didn't have the budget to fly over regularly, and I wasn't sure how to build relationships with people I might never meet in person.

So I started writing The Commercial Table.

Every Tuesday, I'd send out something about the commercial side of motorsport — how partnership teams actually get structured, what sponsors are thinking that doesn't make it into the press release, and the operational stuff that shapes right-holders behind the scenes.

I was just trying to stay close to an industry I cared about from a distance. 

What I didn't expect was who would start reading:
→ Commercial directors
→ Heads of partnerships
→ People working inside F1 teams and series.

The kind of people I would've spent years trying to get in front of through traditional networking.

And then consulting work started coming in.

From people who had been reading for months and already knew how I approached problems. By the time we got on a call, the trust was already there.

That's the thing about writing consistently in public. You're letting people see how you think over time, and for the right readers, that builds more credibility than any intro meeting could.

I still go to London when I can because the in-person stuff matters (honestly, I will still move there) but the newsletter has become a way to stay present in an industry even when I'm not physically there.

If you're trying to build credibility in a space where you're geographically on the outside, writing might be worth considering. You don't need to be in the room if you're already in their inbox every week.

Still early, still figuring it out — but the doors that have opened so far have made every Tuesday worth it.

P.S. Random run-in with Scott Keeney in London during my time in London

Eight Sleep just partnered with Aston Martin F1 Team this year, and I subscribed to their co-branded landing page.

I'm still waiting for a welcome email.

For context: Eight Sleep just became Aston Martin Aramco's official sleep technology partner.

They make AI-powered pods that regulate temperature and track biometrics while you sleep — research shows up to 34% improvement in deep sleep.

For F1 drivers crossing 15+ time zones a season, recovery is a great performance variable.

The logo appears on the car nose, driver balaclavas, cooling vests, and handheld cooling fans in the garage. Functional placements that reinforce what the product actually does.

So I went to the landing page to see how they're activating beyond the car.

There's a section called "Stay close to the paddock" — promising behind-the-scenes content, performance insights, and future releases from the partnership.'

That's exactly the right instinct. Turn a sponsorship into an owned audience. Capture that initial attention.

The problem is that the email capture is buried at the bottom of the page.

Most visitors will never scroll that far. The headline, product pitch, and stats are all above the fold.

The audience-building part is hidden.

Then I subscribed, hoping to receive a welcome email and what to expect.

These are the small details with digital partnership activations that fall short. The experience after someone opts in is unfinished.

A simple fix:

1. Move the email capture higher — after the first product section

2. Send a welcome email immediately — introduce the partnership, set expectations, deliver one piece of value

3. Build a short sequence — even 2-3 emails keep the subscriber warm

People are afraid of emailing their subscribers, thinking they’re annoying them, but in reality, if you actually give them value, they will welcome it.

Eight Sleep understands the value of building direct relationships with fans. The "Stay close to the paddock" framing is okay.

They just need to finish the job.

For brands activating sponsorships digitally through unsexy channels: the landing page is not the finish line. The email sequence is where the relationship actually starts.

More on this partnership in The Commercial Table tomorrow — https://lnkd.in/gCqNhzqU

credit: Aston Martin Aramco/Eight Sleep

Revolut x Audi F1 already has a head start on its partnership marketing.

To mark the launch of joint accounts: a new feature designed to simplify money management for any 2 people.

The campaign will offer customers the chance to win tickets to the Suzuka F1 Grand Prix, including VIP passes, autographed merchandise, and official merchandise.

It’s a smaller scale than The HEINEKEN Company x Full Time Formula season ticket holder activation, but the logic is the same: attach the activation to something fans already want.

What makes this one worth paying attention to is the sequencing.
Revolut started with a product moment - a joint account and used the partnership as a distribution channel for it, and made Audi F1 the vehicle to deliver the message.

That's a fundamentally different brief than most sponsor activations run off.

It shows in the output because the campaign feels coherent, there's a product, a reason to act, and a reward that's genuinely relevant to the audience receiving it.

Most activations get one of those three right.

For rights holders, there's a direct implication here.

You can’t always wait for sponsors to arrive with the activation ideas. 

The sponsors with creative energy and available budget are usually the ones with something happening on their product roadmap — a feature launch, a market expansion, a rebrand.

If you know what's coming before they've briefed their agency, you can walk in with a concept already framed around their business problem. 

That changes the conversation from media placement to commercial partnership.

One question worth asking every sponsor before the next race window: What product moments do you have in the next 60 days?

For brand managers, the lesson is about sequencing.

Start with what you need customers to do, along with what you have rights to.
Revolut needed people to try joint accounts, and the Audi Revolut F1 Team gave them a reason to pay attention.

Mind you, it’s always a bit easier for a B2C company to build these types of activations, but it still requires work to get it right.

It's easy to be negative about what Formula E is doing to grow their fanbase with events like the EVO sessions 

Most of the takes are negative, but the picture is more complicated than that.

For context: Formula E, in collaboration with Arcade Media, invited eight influential content creators to Jeddah to drive the GEN3 Evo — their current race car — around one of the most challenging street circuits on the calendar.

The internet had thoughts.

Let's start with what the critics are getting right.

The marketing timeline is too short. Announcing your creators a week out makes it tough to get mindshare for the casuals, unless you're closely following it. 

Despite that, the event got 5.8 million views.
 
The Sidemen Charity Match, also run by Arcade, gets promoted months in advance. 

Long-form storytelling ahead of the event is what makes it stick in people's minds. Formula E should be building the narrative weeks before anyone gets near a car.

The GP Explorer comparison is also fair. That event had training camps, coaching sessions, test days, and content at every stage of the journey. 

It drew millions of viewers, and French national TV broadcast it live. The key difference is that  GP Explorer was creator-led. EVO sessions are Formula E-led. 

And yes — the storytelling inside and before the event itself could be much richer. 

Show how difficult these cars actually are to drive ahead of time. Set benchmarks. 

Show the gap between creator lap times and professional lap times, and make that the story. The difficulty is the most compelling part of it.

The concept is right, but the execution will need to catch up.

In tomorrow's issue of The Commercial Table, I also cover:

→ Why the "sim racer" argument misses the point entirely 
→ The accessibility argument nobody is making about events like this
→ What the GP Explorer playbook actually looked like and what Formula E should steal from it 

Link in the comments.

Formula E is back with EVO Sessions 2.0 on February 15th—new format, team competition, live on YouTube. 

With the hopes of reaching new audiences and bringing new fans to the sport.

I love that they're taking these risks and iterating on last year. 

Because the challenge every new right-holder faces is the same: 

How do you build decade-long, geographical, family-level fandom in a sport that's still finding its feet?

Football clubs have decades and generational loyalty. 

This might not be the magic pill, but it's a necessary building block to the whole machine of growing an audience. 

Three things stand out to me about this year's approach:

- The format evolution from experience to competition
- Arcade's involvement
- The creator ecosystem is more connected

More about how Formula E is hoping to use these EVO sessions to build fandom is in my newsletter today: 

Subscriber here: https://lnkd.in/gCqNhzqU

Sports apps don't work like other digital products.

Your users are checking scores seconds before kickoff, reacting to a controversial call, or refreshing for transfer news while walking through a crowded concourse.

Design patterns that work for most apps fall apart under those specific conditions.

humbleteam put together a breakdown of what actually works for sports app UX. A few things stood out:

1/ Navigation for live events has to be built differently.

During a match, fans need instant access to scores, lineups, and highlights. Apps should prioritise matchday content dynamically; what matters right now surfaces first.

2/ One-handed use isn't optional.

Thumb-zone accessibility matters more here than in almost any other app category.

3/ Real-time data needs to be scannable in seconds.

Scores, stats, timelines should all be skimmable. Visual hierarchy, colour logic, and motion cues have to do the heavy lifting.

4/ Offline and low-connection modes are important.

Stadiums have notoriously unstable networks. Frustrating fans at the exact moments they want to engage will lose them.

5/ Push notifications need to respect context.

Goals, transfers, and breaking news are what fans want. But constant noise, and they'll turn notifications off entirely.

What I find interesting is how much of this comes down to understanding fan behaviour under pressure. You're designing for emotionally invested users making split-second decisions.

I spoke to humbleteam, where they shared a case study with me on how they worked with a top European football club on its OTT experience — benchmarking fan platforms, UX recommendations for TV interfaces, and opportunities for AI-powered personalisation.

When the natural instinct is to add more, sometimes the better approach is to remove friction from what already exists.

It's worth getting right.

#ad

Brand partnership • Helping people master the commercial playbooks in motorsport | Founder @ The Commercial Table

Pace Six Four

Video editor for multiple Motorsport affiliated accounts, chiefly Silverstone Circuit and World Supercross Championship.

Video Editor

Social Steering

Alpine F1 Team
- Community Management
- Minor Content Creation VIA Adobe Creative Suite
- Content Ideation

Joe Macari Performance Cars
- Creative director of videography for all Joe Macari social accounts
- Videography and Adobe Premier Pro editing for all video content
- Content strategy and scheduling
- 100K followers, 2 million likes, and 50 million views in 4 months (Feb '23 - August ‘24)

Jota Sport
- Graphic Creation for 2023 WEC Season (VIA Adobe Photoshop/Illustrator)
-On track Videographer and Social Media executive for the team at the 2024 24 hours of LeMans 
- On-Track videographer/photographer for July 2022 test sessions
- Content ideation and execution

KAEĀ Skincare
- Primary lead on Google, Pinterest, and Facebook advertising
- Product photography
- Product videography

dART Studio (NitroNation World Tour+ Rebel Racing)
- Lead content strategist
- Content ideation and execution
- Junior graphic designer
- Team photographer for Miami Art Basel 2022
- 8000 Twitter Followers for NNWT in 2 months

Dr. Watson CBD
- Product Photography for magazines and product brochures

Alix Lawson Paints
- Content strategy, ideation, scheduling, and execution
- Product videography and photography

Social Media Coordinator

Moe Motors

Mohammad founded Moe Motors in 2020. It is a TikTok, Instagram, YouTube, and Website platform that showcases the most exotic supercars, honest automotive journalism, car reviews, and Formula 1 news. He even throws in some comedy to make everyone smile! Moe is extremely passionate about the automotive and Formula 1 industry. He will continue to film and review gorgeous cars across the world for his 105'000+ followers and has racked up +25 million views as he continues his professional career. 

www.moemotors.net

Moe Motors has not only taught him the entire Adobe Creative Suite, but has strengthened his pre-existing networking skills, PR negotiation skills, timely priority abilities, and project management capabilities.

Mohammad hopes to showcase to automotive and motorsport employers that he is capable of creating content to build their brand and can also manage top-priority projects that are ongoing in their marketing and social media departments.

Founder

Highbury Canco Corporation

Working at Highbury was a monumental experience and I learned so much! My roles included	generating the company’s first online chemical and ingredient SDS portfolio containing over 700 PDF sheets, TDG regulatory information, and post-2015 OSHA-approved WHMIS labels. I also oversaw 180+ first-aid incident investigations and collaborated with WSIB and third-party engineering firms to resolve safety concerns with an average of 71% investigation close-out rate.

Health and Safety Special Projects

McMaster University

Worked in the faculty of Sustainability at McMaster University. 
Assessed and marked project reports on the basis of pre-determined rubrics to administer grades to students in sustainability courses. Participated in a research-based study as a research assistant to decipher the consistency of marking of assignments between individuals.

Research Assistant

Bill & Melinda Gates Foundation

Led a team of software developers, instructors, and media creators to generate a curriculum that enhances the importance of women empowerment and leadership. Created educational tools with the use of digital software to allow the dissemination of information on gender disparities in disaster-stricken locations.

Multi-Media Creator

The United Nations University Institute for Water, Environment and Health (UNU-INWEH)

Lead an enhanced revision of the academic courses through multimedia creation to result in easily accessible and understandable material. Conducted research analysis on water security through UN-provided data to gain an understanding of the multiple factors of water scarcity.

Course Developer

Conducted project interviews between supervisors and student groups to ensure the successful progress of student-led initiatives. Assessed and marked project reports on the basis of pre-determined rubrics to administer grades to students in sustainability courses

Teaching Assistant

As an alumnus from McMaster U, Brock U, and Burgundy School of Business, I aim to leverage what I have learned during my MBA/MSc in Luxury Brand Management whilst utilizing the professional skills gained during my time as a project manager and content creator to break into the Motorsport/Automotive industry. I’ve set my aims to work in the marketing department of major automotive brand and motorsport teams, with clear goal of working in and around Formula 1 in the near future. 

I also share a huge passion of cars and racing! I often review the newest automobiles, film with the most exciting exotic vehicles, and publish automotive journalism on Instagram and TikTok at MoeMotors. You can check out my work at www.MoeMotors.net 

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