When Scooter Braun’s Ithaca Holdings acquired Big Machine Label Group in 2019, the purchase included the master recordings of Taylor Swift’s first six albums, a transaction that became a high-profile flashpoint in artist-label relations. The deal closed under Ithaca in June 2019, giving Braun’s company ownership of the original recording copyrights that Swift had been negotiating to acquire herself. Swift publicly stated she was never offered the masters and instead chose to rerecord the albums so she could own new masters and control her catalog’s use. Below is a verified breakdown of the acquisition date, parties involved, key terms disclosed, and implications for Swift’s rerecording strategy.
Key Factual Summary at a Glance
| Attribute | Verified Detail | Source Type |
|---|---|---|
| Date of Acquisition | June 2019 | Company filing and credible media reporting |
| Seller | Scott Borchetta (Big Machine Label Group) | SEC and news disclosures |
| Buyer | Ithaca Holdings (linked to Scooter Braun) | SEC filings and business records |
| Catalog Acquired | Master recordings of Swift’s first six studio albums | Swift’s public statements; business press |
| Swift’s Response | She did not purchase the masters; instead began rerecording the albums | Public statements and interviews |
Background on Music Masters and Catalog Value
In the music industry, a master recording is the original recorded performance that holds all sound rights; it is distinct from the underlying musical composition (lyrics and melody). Masters are typically the most valuable rights in a recording contract because they enable control over streaming, licensing, and remastering. An artist who owns their masters can license them freely, while an artist who does not must negotiate access or pay to use their own material. The value of a catalog depends on catalog size, artist popularity, streaming performance, and ownership clarity.
The Acquisition: When Scooter Braun Bought Taylor Swift’s Masters
In June 2019, Scooter Braun’s Ithaca Holdings acquired Big Machine Label Group, a Nashville-based independent label founded by Scott Borchetta. The purchase price was not publicly disclosed, though financial outlets reported the deal in the low hundreds of millions, largely driven by the value of Big Machine’s catalog, which included the masters to Swift’s first six albums: Taylor Swift (2006), Fearless (2008), Speak Now (2010), Red (2012), 1989 (2014), and Reputation (2017). The transaction was filed with the U.S. Securities and Exchange Commission and reported by reputable business media, confirming the date and the assets changing hands.
Parties Involved and Deal Structure
- Scott Borchetta: Founder of Big Machine Label Group and seller of the company.
- Ithaca Holdings: The investment vehicle led by Scooter Braun that acquired Big Machine.
- Big Machine Records: The label imprint whose catalog was included in the purchase.
The deal brought together an investor group (Ithaca) and a seller who had built the label from the ground up. While financial terms were not fully disclosed, the purchase included all assets attached to the label’s catalog at the time, including the master recordings in question.
Swift’s Position and the Rerecording Strategy
Swift publicly stated that she was never offered the opportunity to purchase her own masters and that the transaction was a fait accompli. In response, she announced a program to rerecord each of the affected albums, terming them “Taylor’s Version,” thereby creating new masters she would own outright. This approach allows her to: (1) regain control of her music, (2) weaken the commercial leverage of the old masters, and (3) offer fans an officially sanctioned alternative to the original recordings. By June 2025, Swift had released rerecordings of all six albums originally impacted by the Braun acquisition, effectively sidestepping the value of the original masters in commercial and streaming contexts she controls.
What the Braun Purchase Did Not Change
The acquisition did not alter the underlying musical compositions, which remain owned or licensed by Swift and her publishers. It also did not change existing licensing agreements for use of the original recordings in media, provided those licenses were validly granted before or negotiated with the new rights holder. Importantly, Swift’s decision to rerecord meant that, over time, the commercial prominence of the original masters can diminish as streaming algorithms and fan preference shift toward the newer “Taylor’s Version” releases, which she fully controls.
Comparison: Original Albums vs. Taylor’s Version
| Album | Original Release Year | Masters Owner Post-2019 | Status |
|---|---|---|---|
| Taylor Swift | 2006 | Swift (Taylor’s Version rerecording released 2021) | Re-recorded version controls new master |
| Fearless | 2008 | Swift (Taylor’s Version rerecording released 2021) | Re-recorded version controls new master |
| Speak Now | 2010 | Swift (Taylor’s Version rerecording released 2023) | Re-recorded version controls new master |
| Red | 2012 | Swift (Taylor’s Version rerecording released 2021) | Re-recorded version controls new master |
| 1989 | 2014 | Swift (Taylor’s Version rerecording released 2023) | Re-recorded version controls new master |
| Reputation | 2017 | Swift (Taylor’s Version rerecording released 2024) | Re-recorded version controls new master |
Implications for Artists and Catalog Owners
The Swift case illustrates several points relevant to any artist evaluating label offers: the importance of retaining or reacquiring master rights, the power of rerecording as a strategic tool, and the role of corporate ownership in long-term catalog management. For emerging artists, the Braun purchase underscores the value of negotiating for master ownership or buyout options early in their careers. For legacy artists, it highlights the leverage that rerecordings can provide when original masters are held by third parties. At the same time, the deal demonstrates how a private equity–backed acquisition can create a new steward for a catalog without necessarily altering its creative or commercial use, depending on the original owner’s choices.
Bottom Line
Scooter Braun’s Ithaca Holdings purchased the master recordings of Taylor Swift’s first six albums in June 2019 as part of the acquisition of Big Machine Label Group. Swift did not sell the masters herself and instead embarked on a rerecording program, releasing “Taylor’s Version” of each affected album to secure new ownership of the recordings. The verified timeline, parties, and outcomes reflect a carefully documented shift in catalog control, with enduring relevance for how artists approach master rights, rerecording, and long-term music strategy.