Taylor Swift has managed to regain the rights of her first six albums, putting an end to a long -term and much -discussed dispute over her music rights.

“All the music I have created now belongs to me,” she announced through her official website, describing this development as a sense of “an explosion of joy”.

The problem began in 2019, when manager Scooter Braun acquired his former Swift record label Big Machine, along with the rights of albums Taylor Swift, Fearless, Speak Now, Red, 1989 and Reputation. The singer had reacted strongly, accusing Braun involvement in her intimidation moves through Kanye West.

For years, Swift has considered it impossible to regain the ownership of her music. “To say that this was my biggest dream come true, it is probably a little bit,” she wrote, thanking her fans for their support.

“I had almost ceased to hope, after 20 years where the dream was in front of me but they were constantly taking me,” he confessed.

In the music industry, the ownership of Master Recordings gives their holder complete control over the commercial use and distribution of tracks. Although the artist still receives rights, the ownership of the Masters ensures that music will not be used without his approval.

Swift had promised to re -record her first six albums as “Taylor’s version”, a move that reduced the commercial value of the original editions and gave it complete control.

To date, four re -recorded albums with new material and bonus tracks have been released.

However, in a message to her fans, she revealed that the album “Reputation” has been delayed, as it is the most “personal and difficult” album itself.

Although he announced the release of songs from the album archive, he did not clear up whether the new recording would be fully completed.

On the contrary, she confirmed that she has already re -recorded her first album “Taylor Swift”, saying: “I really like it as it sounds now.” As he explained, the remaining two discs will be released “when the time comes”, not out of necessity, but as a “celebration”.

The backdrop of conflict and the change in industry

In 2004, the then 14 -year -old Taylor Swift signed with the Big Machine, granting Masters rights in exchange for support for her career. In 2018 he retired and signed with Republic Records and the Universal Music Group.

When Big Machine was sold to scooter Braun in 2019, Swift said it was briefed afterwards, describing the “attack” and Braun “the face of toxic male power in industry”.

She also stressed that she was not given the opportunity to buy her own work.

Swift launched the re -record project in 2021, with Fearless (Taylor’s version), which has been a huge success – as was the 10 -minute All Too Well version, which reached number 1 in the US and number 3 in the United Kingdom.

A move of huge meaning

Meanwhile, Swift continued to release new material, with albums such as Folklore and Midnights, while in 2023 it became the first musician to only acquire $ 1 billion in her music, according to Forbes.

The Eras Tour tour, based on the history of its discography, has generated more than $ 2 billion in ticket sales, further enhancing the value of its list.

“That is why I managed to buy my music,” he noted. At the same time, he stressed that many young artists are inspired by her own experience and now claim the ownership of their works.

“Every time a young artist tells me he managed to negotiate the ownership of his Masters, I remember why all this race was so important. Thank you for creating. “