A surprising turn in the saga of the masters of Taylor Swift has shaken the music industry. Sources close to the negotiations reveal that Shamrock Capital, current owner of the singer’s original recordings, is considering selling them, and that, incredibly, Scooter Braun would be actively promoting that Swift recovers his own recordings.
It all started in 2019 with the controversial acquisition of Big Machine Label Group by Braun, including the first Swift albums. The artist’s response? Re -regret every album, a strategy that was not only a resounding success, but also triggered a global debate about copyright in the music industry.
Now, six years later, the possibility that Swift recovers its original masters is presented as a significant victory. Negotiations, according to reports, could reach a figure between 600 million and one billion dollars. A sum that, added to the re -recorded versions, would catapult Swift’s profits to stratospheric levels.
“This would be a master play for Taylor,” says Clayton Durant of Cad Management. “To control both versions, the original and the restraint, would exponentially maximize your long -term income.” The impact transcends the economic, representing a symbolic triumph for Swift and sitting a powerful precedent in the defense of artists’ rights.
The recent launch of an extended version of “Look What You Made Me Do” as part of Reputation (Taylor’s version) Add an extra layer of irony to this situation, symbolizing the closure of a painful chapter and the possibility of a much brighter future for the artist.
The story, far from finishing, could culminate with an agreement that would redefine the relationship between artists and record stamps, establishing a new paradigm in the music industry. The future of Taylor Swift’s masters, and the meaning of this possible agreement, is still to be written.
