Taylor Swift may finally get the chance to reclaim the master recordings of her first six albums—marking a major turning point in one of the most high-profile music ownership battles of the 21st century.
According to Page Six, investment firm Shamrock Capital, which currently holds Swift’s master recordings, is exploring the possibility of selling them back to her. Even more surprisingly, the move is reportedly being encouraged by Scooter Braun—the music executive at the center of Swift’s original dispute over the ownership of her catalog.
A Long-Awaited Opportunity
The albums in question—Taylor Swift, Fearless, Speak Now, Red, 1989, and Reputation—were initially sold to Braun’s Ithaca Holdings in 2019 for a reported $300 million when he acquired Big Machine Label Group. At the time, Swift was vocal about her frustration, stating that she had not been given a fair opportunity to purchase the masters herself.
Her public outcry prompted a massive wave of fan support and industry discussion, ultimately leading to her now-famous initiative to re-record her albums as “Taylor’s Versions” to reclaim ownership and creative control.
scooter braun, I didn’t forget about you. you bought taylor swift’s life’s work thinking it was a power move, only for her to re-record and devalue it. now you’re paying media outlets to say it worth more now? this is taylor swift, not justin bieber your days are numbered pic.twitter.com/VCUWYWxhBP
— r (@realtaydrid) May 22, 2025
just a reminder that taylor is gonna be re-recording her first 5 albums THIS NOVEMBER. THAT IS 3 MONTHS AWAY 😱 pic.twitter.com/TDIdxRNLHD
— Tim (@thouzandcuts) August 10, 2020
Now, with a potential deal back on the table, Swift could be looking at a price tag between $600 million and $1 billion to buy back her original recordings—a hefty sum, but one that experts say could be well worth the investment.
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Why This Deal Matters for Swift
Owning both the original and re-recorded versions of her albums would put Swift in an exceptionally powerful position within the music industry. Clayton Durant, founder of CAD Management, explained that the move would allow her to increase her earnings from licensing and royalties.
“If she could claw back and create a deal structure where she could get the rights to her original recordings, she exponentially increases the amount of money she makes,” Durant said.
While Swift already earns from publishing rights on the original songs, she doesn’t control the use of the masters in commercials, TV, film, or other licensing deals. By regaining full ownership, she could consolidate her earnings and take full creative and financial control of her entire discography.
Scooter Braun’s Surprising Role
In a twist that few saw coming, Braun—once cast as the villain in Swift’s fight for ownership—is said to be encouraging Shamrock Capital to offer the recordings back to her.
“Interestingly enough, one of the individuals who is encouraging this deal to take place is Scooter,” said a source, referring to Braun’s involvement in the original 2019 transaction. His encouragement could be an attempt at reconciliation or simply a practical move recognizing the business logic in Swift’s eventual ownership.
The Original Sale and Family Ties
Controversy swirled not only around Braun and Big Machine CEO Scott Borchetta but also around Swift’s own father, Scott Swift, who was reportedly a shareholder in Big Machine. According to TMZ, Scott Swift contributed to a “data room” used in the sale and may have earned as much as $15.1 million from the transaction.
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Though Taylor Swift has consistently claimed she was never properly offered the chance to buy the masters, sources have maintained that the sale was an open secret within the industry. The Max documentary Bad Blood even suggested Swift was approached about buying the recordings multiple times—first by Borchetta and later by Braun himself after the sale to Shamrock.
A Principle That Sparked a Movement
Swift’s decision to re-record her music catalyzed a broader conversation about artists’ rights and music ownership. Her re-recordings have been critically and commercially successful, helping to drive awareness around the often-opaque dynamics of record label deals and artists’ creative control.
Crying because Taylor Swift is going to re-record A place in this world knowing that she found it pic.twitter.com/HJhs4LhRjn
— olivia 🎇 (@greencucumbers) April 7, 2025
“This is more than just business,” Durant noted. “She’s already a billionaire. But this might be a principle thing for her.”
Swift’s public stand has empowered other artists to re-evaluate their own contracts and demand more control over their work. As such, her next move—whether she buys the originals or not—could have lasting effects across the music industry.
What’s Next?
No official word has been issued from Swift’s team or Shamrock Capital. However, if the deal goes through, it would mark a historic full-circle moment for the singer-songwriter, giving her the ability to own both the legacy and future of her work.
In the meantime, fans recently heard the first re-recorded snippet from Reputation (Taylor’s Version) on The Handmaid’s Tale, suggesting that Swift continues to march forward with her re-recordings, regardless of what’s happening behind closed doors.
taylor swift destroying scooter braun will forever be ICONIC pic.twitter.com/tpTWC1eslF
— natek // speak now era (@taytaeshoe) October 27, 2020
