How Much Has Tracy Chapman Earned from Luke Combs’ ‘Fast Car’ Cover?

Luke Combs has driven his “Fast Car” to the top five of the Billboard Hot 100 – and Tracy Chapman is riding shotgun.

The surprise success of Combs’ cover has been a minor windfall for Chapman, the sole songwriter of the 1988 hit from her breakthrough debut album. Billboard estimates that Combs’ version has generated about $500,000 in publishing royalties globally from its March 17 debut through June 8. Chapman alone is pocketing a sizable portion of that total.

Most of the royalties have come from 154 million U.S. on-demand audio streams from services such as Spotify and Apple Music from March 17 to June 8, according to Luminate. During that period, “Fast Car” also had 6 million video streams and 28 million programmed audio streams in the United States. The track has also been purchased 86,000 times, while the album on which it appears, Combs’ Gettin’ Old, has been purchased 68,000 times in both digital and physical formats. The United States accounts for more than three quarters of the song’s global consumption — a high ratio not atypical for a country artist.

What’s more, Combs’ success with “Fast Car” has also given Chapman’s original recording a boost. Weekly consumption — measured by track sales and streaming converted into equivalent track units — increased 44% since Combs’ version was released, while average weekly radio spins improved about 11%. That’s resulted in a boost in U.S. recorded revenues of about $54,000, with $13,000 coming from publishing royalties, Billboard estimates. (Warner Music Group’s Elektra Records, not Chapman, owns the recorded music rights.) Interest in Chapman herself appears to have increased, too: U.S. Google searches for the singer almost tripled from the weeks ended March 18 to June 3, according to Google Trends.

“Fast Car,” the first single for Chapman’s eponymous debut album, has been covered by the likes of Sam Smith, Khalid, Black Pumas and English producer Jonas Blue, whose dance version reached No. 2 on The Official U.K. Singles Chart and No. 98 on the Billboard Hot 100 in 2016. But in the United States, Combs’ version became the most successful to date by reaching No. 4 on the Billboard Hot 100 (dated June 17), surpassing Chapman’s original which reached No. 6 on the Billboard Hot 100 in 1988, and helped her debut album reach triple platinum within a year of its release.

Combs’ “Fast Car” peaked at No. 1 on the Country Digital Song Sales chart (dated June 10) and No. 2 on the Country Streaming Songs chart (dated April 29). It also reached No. 6 on the Country Airplay chart (dated June 17) in just its eighth week on the tally and hit No. 2 on the Hot Country Songs chart (dated May 6), which combines radio airplay and streams. North of the U.S. border, “Fast Car” reached No. 2 on the Canadian Digital Song Sales chart (dated May 6), No. 5 on the Billboard Canadian Hot 100 chart (dated May 27) and No. 36 on the Canada All-Format Airplay chart (dated June 10).

Tracking the ownership of “Fast Car” is like a brief lesson in the history of major publishing dealmaking of the last four decades. Chapman signed a publishing deal with SBK Entertainment prior to signing with Elektra Records in 1987. SBK was acquired by EMI Music Publishing in 1989. Citi took control of EMI in 2011 after private equity firm Terra Firma defaulted on its debt from a 2007 acquisition. A consortium of investors led by Sony Music Entertainment acquired EMI Music Publishing in 2012. In 2018, Sony Corporation bought out the remaining 60% of EMI Music Publishing. But the rights to “Fast Car” reverted to Chapman a few years ago, according to a Sony Music Publishing spokesperson. As sole owner of the songwriting and publishing rights, Chapman can pocket all royalties generated from “Fast Car” and other songs in her catalog, less any fees paid to a third party for administration services.

“Fast Car” is a rarity in an age of sampling, interpolations and Taylor Swift’s re-recordings. Outside of holiday music, cover songs rarely appear in the top 10 of the Hot 100 singles chart. In fact, the last time a cover entered the top 10 of the Hot 100 was Anna Kendrick’s version of “Cups,” a folk song written in 1931 and recorded by Hendricks for the movie Pitch Perfect that reached No. 6 in 2013. Prior to “Cups,” two cover versions from the TV show Glee appeared in the top 10: “Don’t Stop Believin’” (originally by Journey) in 2009 and “Teenage Dream” (originally by Katy Perry) in 2010. Chapman earns some royalties when “Fast Car” is sampled or used in an interpolation – Chris Brown‘s 2017 song “Runaway,” for example — but she keeps 100% of the songwriting and publishing royalties of cover songs.