New analysis from Chordify reveals that the world’s most-streamed songs have generated an estimated £3–£4 billion in lifetime revenue, with a significant share going to a small group of highly sought-after songwriters whose work quietly underpins modern pop, hip-hop and dance music.
By analysing the songwriting credits behind the most-streamed songs of all time, alongside chart performance and industry royalty benchmarks, Chordify found that financial power in modern music is heavily concentrated, with the same writers appearing again and again behind billion-stream hits.

“Many listeners have no idea that not all performing artists write their own songs,” says a Chordify spokesperson. “A handful of songwriters are actually responsible for the most-streamed songs ”
25 of the World’s Most-Streamed Songs — and the Revenue Hidden in the Credits
All revenue figures are conservative lifetime estimates based on global streams, chart longevity, radio play and publishing benchmarks. Figures exclude touring and merchandise.
|
# |
Song |
Performed by |
Songwriter (key credit) |
Estimated lifetime revenue |
|
1 |
Blinding Lights |
The Weeknd |
Max Martin |
£120–£150m |
|
2 |
Shape of You |
Ed Sheeran |
Steve Mac |
£110–£140m |
|
3 |
Someone You Loved |
Lewis Capaldi |
Tom Barnes |
£70–£90m |
|
4 |
Diamonds |
Rihanna |
Sia |
£45–£60m |
|
5 |
Uptown Funk |
Mark Ronson ft. Bruno Mars |
Philip Lawrence |
£120m+ |
|
6 |
Stay |
The Kid LAROI & Justin Bieber |
Charlie Puth |
£60–£80m |
|
7 |
Sorry |
Justin Bieber |
Julia Michaels |
£60–£80m |
|
8 |
Halo |
Beyoncé |
Ryan Tedder |
£35–£50m |
|
9 |
Umbrella |
Rihanna |
The-Dream |
£50–£70m |
|
10 |
We Found Love |
Rihanna |
Calvin Harris |
£40–£55m |
|
11 |
Can’t Feel My Face |
The Weeknd |
Max Martin |
£35–£50m |
|
12 |
Irreplaceable |
Beyoncé |
Ne-Yo |
£25–£40m |
|
13 |
Wrecking Ball |
Miley Cyrus |
Sacha Skarbek |
£30–£45m |
|
14 |
Pretty Hurts |
Beyoncé |
Sia |
£20–£30m |
|
15 |
Rock Your Body |
Justin Timberlake |
Pharrell Williams |
£25–£35m |
|
16 |
Party in the U.S.A. |
Miley Cyrus |
Jessie J |
£25–£35m |
|
17 |
Toxic |
Britney Spears |
Cathy Dennis |
£30–£45m |
|
18 |
Nothing Compares 2 U |
Sinéad O’Connor |
Prince |
£20–£30m |
|
19 |
I Will Always Love You |
Whitney Houston |
Dolly Parton |
£100m+ |
|
20 |
Bad Guy |
Billie Eilish |
Finneas |
£35–£50m |
|
21 |
Royals |
Lorde |
Joel Little |
£20–£30m |
|
22 |
Call Me Maybe |
Carly Rae Jepsen |
Tavish Crowe |
£30–£40m |
|
23 |
Let It Go |
Frozen (Idina Menzel) |
Anderson-Lopez / Lopez |
£100m+ |
|
24 |
Hips Don’t Lie |
Shakira |
Wyclef Jean |
£40–£55m |
|
25 |
Since U Been Gone |
Kelly Clarkson |
Max Martin |
£30–£45m |
What the Data Shows
Chordify’s analysis highlights three clear trends:
-
Songwriting ownership outperforms fame: publishing income continues for decades
-
Repeat writers dominate streaming-era wealth: the same names appear across eras and genres
-
One hit can be worth more than a career: a single global song can generate £20–£100m+
Methodology
Chordify analysed:
-
The most-streamed songs globally across Spotify, Apple Music and YouTube
-
Official songwriting and publishing credits
-
Chart longevity, No.1 performance and cultural reuse
-
Industry-standard publishing royalty benchmarks
All figures are conservative estimates intended for comparative insight.





