Scooter Braun, the once-mighty music executive behind stars like Justin Bieber and Ariana Grande, has opened up about the drama that rocked pop culture in 2019 — his highly controversial acquisition of Taylor Swift’s masters.

In a recent sit-down on the Diary of a CEO podcast, Braun called Swift’s public reaction to the deal “deeply unfair” and admitted he was blindsided by the backlash.

“When I bought Big Machine, I thought it would be a great opportunity — a win for everyone involved,” Braun shared. “I genuinely believed I’d be working with all the artists on the label, including Taylor.”

But that’s not how the story unfolded.

Shortly after Braun’s company purchased Big Machine — the label that owned Swift’s first six studio albums — the pop megastar took to Tumblr to express her outrage. She said she was “sad and grossed out,” accusing Braun of “incessant, manipulative bullying,” linking him to years of tension involving Kanye West and Bieber.

Braun, now retired from artist management, said he thought Swift’s history with West (notably the infamous 2009 MTV VMAs incident) and ongoing issues with Bieber might cause some tension — but not open hostility.

“I figured there could be friction,” he said. “But I thought she’d reach out. I thought we’d talk it through.”

That call never came.

Instead, Swift ignited a storm of fan outrage that dominated headlines and sparked a larger conversation around ownership, artist rights, and power dynamics in the music industry — themes that resonated far beyond Hollywood.

Braun, reflecting on the moment, said the episode taught him humility.

“For the first time, I experienced the weight of global scrutiny,” he admitted. “I realized that neither the praise I’d received before, nor the hate that followed, truly defined me. Most people didn’t even know me. She didn’t know me.”

He eventually sold the rights to Swift’s masters to a private equity firm, who then sold them again — this time, back to Swift herself.

Just last month, Swift triumphantly announced that she had bought back the rights to the music that launched her career: from her self-titled debut to Reputation. The journey, she said, had finally come full circle.

“All of the music I’ve ever made now belongs to me,” she wrote. “To say this is my greatest dream come true is actually being pretty reserved about it.”

To counter the initial sale, Swift also launched her now-famous campaign of re-recording her old albums — known as “Taylor’s Versions” — which have gone on to dominate charts and streaming platforms, allowing her to regain creative and commercial control.

Braun, meanwhile, says he’s moved on — no longer managing artists and no longer trying to shape the public narrative.

“I can’t worry about everyone’s niece being mad at me,” he said, with a shrug.

This saga isn’t just about two powerful figures in the music industry — it’s about ownership, legacy, and the right of artists (especially women) to control their work in an industry that hasn’t always been fair. Taylor Swift fought her way through a system built to shut her out — and whether you’re a Swiftie or not, that’s a story with universal resonance.


By Wafricnews Desk.