Several well-known artists have recently brought attention to the complex financial realities behind music royalties and earnings, especially from songs about money. Zohran Mamdani, the current mayor of New York City, continues to receive modest income from his brief rap career. Despite stepping away from music to focus on politics, Mamdani earned $2,700 in royalties in 2025, a noticeable increase from the $1,267 he made in 2024. His music, streamed by over half a million listeners worldwide in 2025, still generates revenue, though it pales in comparison to his political salary. Mamdani’s earnings reflect a unique crossover between entertainment and public service, highlighting how former artists can maintain residual income even after changing careers.
In contrast, Justin Bieber’s financial story offers a more turbulent view of music royalties and money management. Reports emerged that Bieber sold his entire pre-September 2021 music catalogue for $200 million to Hipgnosis Songs Capital. This catalogue included rights to 290 songs and shares in original master recordings. The sale was reportedly driven by financial struggles despite Bieber’s career earnings estimated between $500 million and $1 billion. Allegations surfaced about unpaid debts related to his cancelled Justice World Tour and disputes with his management company, Hybe. These issues paint a picture of how even top-tier artists can face financial difficulties that lead them to relinquish control over their own music.
Bieber’s situation underscores the challenges artists face when balancing high expenses with irregular income streams. The cancellation of tours due to health issues and the pandemic caused significant financial strain. Despite denials from Bieber’s representatives about claims of financial distress, the public remains intrigued by how an artist of his stature navigates such economic pressures. The sale of his music rights also sparked discussions on the long-term impact of such decisions on an artist’s creative control and future earnings.
Meanwhile, Zohran Mamdani’s ongoing receipt of rap royalties demonstrates that even lesser-known or “C-list” artists can generate steady income from their work years after release. Mamdani humorously encouraged New Yorkers to stream his songs more often to boost his royalties, reflecting a lighthearted approach to this additional revenue stream. His tax documents also revealed that his wife earned some income from graphic design work, contributing modestly to their household earnings.
These contrasting stories reveal the varied financial landscapes musicians encounter. From Mamdani’s modest but steady royalties alongside a political career to Bieber’s high-profile sale of his entire catalogue amid alleged money troubles, the economics of music royalties are complex. They depend not only on streaming numbers but also on broader financial management and personal circumstances.
The discussion around songs about money takes on an added layer when considering the artists’ real-life financial situations. For many musicians, their art reflects themes of wealth and struggle while their personal finances may tell a different story. This duality adds depth to understanding how songs about money resonate both culturally and financially.
As streaming platforms continue to shape how music is consumed and monetized, artists must navigate evolving revenue models carefully. The experiences of Mamdani and Bieber highlight both the opportunities and pitfalls in managing music royalties today. Their stories offer valuable insights into the intersection of artistry, business decisions, and financial stability within the modern music industry.
