Kodak Black, Qveen Herby, + more - Songwriting Royalties

Many catalogs lean on a single moment — one breakout track, one big year. This one was built differently. Eighty-eight songs across two artists working in completely separate lanes: Kodak Black's Billboard-charting "Love and War" on one side, Qveen Herby's prolific independent run on the other. Nearly a third of recent earnings come from outside the top five tracks. That's not a catalog held up by one song. That's a catalog with real depth underneath the headliners.

Then there's where the earnings come from. Streaming makes up 87% of the last twelve months, earning every day, in every market where Spotify, Apple Music and YouTube operate. Almost half of this catalog's income is earned outside the United States, and it isn't concentrated in one or two friendly markets. The UK contributes. Germany is another. Canada another. Then a long, diverse tail running through France, the Netherlands, Switzerland, the Philippines, Indonesia, Australia, and beyond. Listeners across six continents, in dozens of countries, are paying into this catalog at once.

That mix changes the character of the asset. The income isn't tied to one country's listening habits or one artist's release schedule — and that matters here, because the catalog is past its release-window peak. "Sugar Daddy," once a TikTok-driven phenomenon, is down about 25% year-over-year as the viral moment fades, dragging overall earnings down by roughly 6% on the trailing twelve-month line. "Love and War" has held flat for four straight quarters, suggesting it has settled into long-tail engagement rather than continuing to slide.

For an investor, the case isn't a hit; it's the breadth: two artists, eighty-eight songs, dozens of markets, earning every day while the streaming economy is open. That breadth is the offset to a top track still cooling off — and the reason this reads as a long-tail income stream rather than a one-song bet.

"Love & War" (2022) is the closing track and lead single from Kodak Black's fourth studio album Back for Everything, released through Atlantic Records. The track is built on a distinctive xylophone loop and sits in Kodak's melodic, sung-rap lane, framing a relationship as a mismatch of intentions; she wants love, he wants war, full of the jealousy-and-pride push-pull he's known for. It became a TikTok favorite ahead of the album's release, helping Back for Everything debut at No. 2 on the Billboard 200 (a project otherwise carried commercially by the multi-platinum Lil Wayne collab "Super Gremlin").

Qveen Herby is the solo project of Amy Noonan, launched in 2017 after she walked away from her major-label deal and pivoted into a self-released R&B/hip-hop lane built around glossy production and a confident, hyper-feminine pop-rap persona. Her debut EP 1 (2017) hit No. 37 on Billboard's Independent Albums chart and No. 13 on Heatseekers, kicking off a prolific indie run of numbered EPs (EP 1–EP 9, 2017–2020), her debut album A Woman (2021), and themed projects after. Standout cuts include "Vitamins" (EP 7, 2019), a slinky flex anthem; "Sugar Daddy" (EP 8, 2020), her commercial peak, a tongue-in-cheek anthem that went viral on TikTok and has since topped 60M+ streams; "Abracadabra" (Halloqveen, 2021), a witchy, theatrical turn; and "Rabbit Hole" (Mad Qveen, 2022), a moodier, psychedelic cut. Her independent streaming numbers and DIY model have made her a frequently cited case study in post-major-label reinvention.