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Taylor Swift announced on Friday (May 30) that he has recovered the property of the master recordings of his first six albums, which were in the hands of Shamrock Capital, the private capital firm that acquired them from Ithaca Holdings of Scooter Braun at the end of 2020. According to Fuentes, Shamrock sold his catalog to return to Swift for an amount relatively close to what they paid initially, Estima was around 360 million dollars.

In a message on his website, Swift said: “Every time I was sooo nearby, trying, just to fall apart. I almost stopped thinking that this could happen after 20 years of having the carrot in front of me and then they took it away. But all that already remained in the past … I can really say these words: all the music that I created … now all my music videos. Concerts.

In his announcement, Swift expressed gratitude and praised Shamrock for how they handled the agreement, pointing out that they understood the deeply personal meaning behind the transaction. “My memories, my sweat, my writing and my decades of dreams,” he wrote. “I am infinitely grateful. My first tattoo could be a huge clover in the middle of my forehead.”

Braun said to Billboard about the purchase of Swift: “I’m happy for her.”

The Swift master recordings saga dates back to June 2019, when Ithaca bought Big Machine Label Group, which owned the masters of the first six Swift albums, for about 300 million dollars. According to estimates of the time, the swift catalog represented at least half of that amount. Over the years, Swift has publicly declared its discontent with the sale of its master recordings and, in 2019, it began to re -record those Big Machine albums to recover control of their songs from a commercial point of view.

These re -regions began with Fearless (Taylor’s version) In April 2021, followed by Network (Taylor’s version) In November 2021. In 2023, he launched Speak Now (Taylor’s version) and 1989 (Taylor’s version)each of which reached No. 1 in the Billboard 200 list. Fans still expect the re -registration of their homonymous debut album and his latest album under Big Machine, Reputation.

Since Big Machine left in November 2018, Swift has released five additional albums under Republic Records: LOVER (2019), Folklore (2020), Evermore (2020), Midnights (2022) and The tortured poets department (2024). He also completed his historic Eras Tour, which redefined the rules of what a concert tour can be and significantly increased the reproductions and sales of all its catalog, including re -regions.

Swift was not involved in the purchase of her recordings by Shamrock in 2020. “This was the second time that my music was sold without my knowledge,” he said at that time.

Shamrock’s statement about the acquisition of the Swift catalog emphasized his admiration for his art and the value of his music. The company described Swift as a “transcendental artist” with a “timeless catalog” and said that his investment was driven by the belief in the long -term potential of his work. Although they hoped to associate directly with her, they recognized and respected their decision not to be involved. Shamrock expressed his appreciation for Swift’s professionalism and expressed interest in collaborating with her in the future.

Although the terms of the agreement were not revealed, since sources close to the negotiations claim that Swift paid an amount close to the 360 ​​million dollars that Shamrock paid in 2021, this would imply that Shamrock did not get many profits, if he obtained any, with the sale of the assets. However, the financial firm with Disney links still obtained a total gain of around $ 100 million during the more than three years that the master recordings possessed. According to estimates Billboard Based on luminete data, the six studio albums and two live albums that Swift recorded while it was signed with Big Machine generated approximately 60 million dollars annually on a average worldwide between 2022 and 2024. Distribution, marketing and royalty payments to Swift probably consumed about 50% of those revenues, leaving Shamrock with a profit of approximately 30 million dollars a year.

In 2023, Billboard reported that swift album re -reg Fearless (Taylor’s version) and Network (Taylor’s version) They were exceeding reproductions to their original versions, with the new Fearless winning triple units equivalent to albums than the original, and the new Grid up to 10 times the original.

According to Luminate data on May 22, Speak Now (Taylor’s version) It has accumulated 2.3 million units equivalent to albums compared to the 8.6 million units of the original in the United States, although the latter has more than 12 years of advantage. Network (Taylor’s version) It has accumulated 5.18 million units equivalent to albums compared to 9.16 million units of the original in the United States, despite the fact that the original was launched almost 10 years before the refrabation. Fearless (Taylor’s version) He has accumulated 3 million units equivalent to albums compared to 11.7 million of the original, which had a 13 -year -old advantage. AND 1989 (Taylor’s version) He has obtained 4.87 million units equivalent to albums compared to 14.6 million of the original, with a nine -year difference between the launch dates.

In general, the Swift catalog has accumulated 116.77 million units equivalent to albums in the United States over the years, according to Luminate, from its homonymous debut album in 2006. It has sold 54 million albums in the United States and generated 70,746 million streams.

Next, Taylor Swift’s full message about the recovery of his master recordings, translated into Spanish:

Hello,

I am trying to order my thoughts and create something consistent, but right now my mind is just a slide presentation. A flashback of all the times I dreamed awake, I wanted and longed for the opportunity to give them this news. Every time I was sooo close, trying, just to fall apart. I almost stopped thinking that this could happen after 20 years of having the carrot in front of me and then they took it away. But all that already remained in the past. I have been breaking from joy at random intervals since I discovered that this is really happening. I can really say these words:

All the music I have created … now it belongs to me.

All my musical videos.
All concert movies.
The art and photography of the albums.
The unpublished songs.
Memories. The magic. Madness.
Each of the eras.
All the work of my life.

To say that this is my biggest dream come true is in fact quite reserved about it. My fans know how important it has been for me, so much that I rewritten and launched four of my albums, calling them Taylor’s version. The passionate support they showed to those albums and the success story in which The Eras Tour made me readquir my music. I greatly thank you for helping me to meet again with this art that I have dedicated my life, but I had never possessed until now.

All I always wanted was the opportunity to work enough to be able to buy my music directly, without ties, without partners, with total autonomy. I will be eternally grateful to everyone in Shamrock Capital for being the first to offer me this. They have managed each interaction with honesty, justice and respect. For them it was a business, but I felt that they saw him as what it was for me: my memories, my sweat, my writing and my decades of dreams. I am infinitely grateful. My first tattoo could be a huge clover in the middle of my forehead.

I know, I know. What about REP TV? With total transparency: I have not even recorded a quarter again. The reputation album was so specific to that moment of my life, and I kept reaching a stop point when I tried to rebuild it. All that challenge, that desire to be understood while I felt expressly misunderstood, that desperate hope, that growl and mischief born of shame. To be completely honest, it is the only album of the first 6 that I thought could not be improved by removing it. Neither music nor photos, nor videos. So I kept postponing it. The time will come (if you like the idea) in which the unpublished clues of Vault of that album leave the shell. I have already completely recorded all my debut album, and I really love how it sounds now. Those 2 albums can still have their moments to resurface when it is the right time, if that is something that would excite them. But if it happens, it will not be for sadness or longing for what I would like to have. It will simply be a celebration now.

I am very happy with the dialogue that this saga has revived in my industry, both among artists and between fans. Every time a new artist tells me that he negotiated the property of his master recordings in his record contract due to this dispute, I remember how important it was that all this happened. Thank you for your curiosity about something that was previously considered too focused on the industry to be discussed on a large scale. They will never know how much it means for me to worry. Every detail told and brought us here.

Thanks to you and your good will, to your teamwork and your support, the best thing that has happened to me … is finally here.

Euphoric and amazed,

Taylor

With additional reports by Elizabeth Dilts Marshall and Dan Rys.