Scooter Braun, the high-profile former talent manager, has recently reflected on his long-standing and much-publicised dispute with pop superstar Taylor Swift following his decision to purchase her former label, Big Machine Label Group, in 2019. In a candid discussion on The Diary Of A CEO podcast, Braun admitted that he had not anticipated the negative fall-out that would ensue from acquiring the master recordings of Swift’s first six albums.
At the time of the acquisition, Braun, then aged 43, believed he was making a business move that would allow him to collaborate with some of the biggest artists in the industry. However, Swift, who has an ardent global following, reacted sharply to the news. In a widely-shared Tumblr post, she described feeling “sad” and “grossed out”, and accused Braun of “incessant, manipulative bullying”—words that touched off tensions in both the public and music industry spheres.
Braun recounted that, prior to this episode, his interactions with Swift had been minimal but cordial. He said their paths had only crossed a few times, and he remembered their exchanges as respectful. But he acknowledged that managing controversial stars such as Kanye West and Justin Bieber might have coloured Swift’s perception of him, especially given her high-profile disputes with West.
He explained, “I did harbour some concerns that she perhaps didn’t like me because of my affiliations, but I assumed the acquisition would open a channel for conversation and potential collaboration. Instead, the news prompted a strong public reaction and little direct engagement from Swift herself.” Braun added that he was taken aback by the intensity of the backlash, recalling how, as events unfolded, he struggled to make contact and clarify intentions before Swift’s statement went viral.
Reflecting on the incident years later, Braun appeared to have gained perspective on his experience at the epicentre of global celebrity scrutiny. “Everything in life is a gift,” he said, noting how suddenly finding himself the subject of widespread criticism altered his outlook. He confessed that until that point, he hadn’t truly understood the scale of public judgement faced by major artists. “The praise and the hate were both undeserved, as none of the people commenting really knew me.”
In response to the sale of her masters, Swift announced in 2019 that she’d undertake the ambitious project of re-recording her earlier works to regain control over her music catalogue. Swift’s plan has since seen her release reimagined, “Taylor’s Version” albums of ‘Fearless’, ‘Red’, ‘Speak Now’, and ‘1989’, with further re-recordings anticipated. The industry has closely observed her efforts, which have been heralded as a bold stand for artist ownership and creative autonomy.
Braun has since retired from talent management but continues to reflect on the pressures young artists face. On the same podcast, he discussed his role in launching the career of Justin Bieber, whom he discovered as a teenager, and addressed the challenges that so often accompany early fame. Braun expressed regret for not having been more attuned to the individual struggles and mental health needs of the youthful stars he worked with.
“I do feel guilt about some of the situations young artists found themselves in,” Braun admitted. He recognised that, much like himself, many were thrust into the spotlight without the necessary tools or maturity to cope with the constant public attention and scrutiny—an environment, he now admits, for which few are truly prepared.
The former manager went on to reflect on the culture of celebrity itself, warning that “human beings are not made to be worshipped,” and advocating for greater acknowledgement of the psychological impacts fame can bring. His words suggest a desire within the industry for more robust conversations about the well-being of artists, especially those who rise to fame at a young age.
The ongoing interplay between corporate interests, personal legacies, and fan devotion continues to shape the music industry landscape. While Swift’s campaign for artistic ownership and Braun’s reflections on the emotional cost of fame have brought fresh debates to the fore, the controversy remains a reminder of the complexity behind the world’s biggest hits—and the people who produce them.