‘Wait, haven’t I heard this before?’ Taylor Swift reclaims her crown with ‘Fearless (Taylor’s Version)’

Adam Fiertl reports. 

Any Taylor Swift fan will know that there is an air of wonder surrounding the number 13. From being born on the 13th of December and swearing by the fact that if she hears mention of the number on any award show night she would win, the number seems to be mystically intertwined in this universe she has created with her fans. And now, 13 years after signing with Big Machine records, her re-recording clause has expired and the release of’ Fearless (Taylor’s Version)’ marks the first triumphant step in reclaiming her music.

In late 2019, Scooter Braun’s Ithaca Holdings sealed an acquisition deal with Big Machine and their entire catalogue, including all of Swift’s masters from her 2006 debut album, ‘Taylor Swift’, to the dark electro-pop 2017 #1 record ‘reputation.’ After learning of the deal, Swift took to the internet, writing ‘they both knew they were controlling a woman who didn’t want to be associated with them.’ It was a cry for help and a plea to newer artists to value self-worth over any desire for fame or money. 

Following, Swift became very vocal about her desire to re-record all of her music. For while Shamrock Capital (the most recent buyer of her catalogue) owns her masters, Swift is still the sole owner of the publishing and writing credits to her songs. Naturally, she developed a buzz surrounding the imminent re-release of her first albums which was only heightened by the critical and commercial success of her two surprise releases in 2020, ‘Folklore’ and ‘Evermore.’

The 12th of February arrived and Swift announced that she would be releasing the re-recorded version of ‘Love Story’ that midnight. It had been donned ‘Love Story (Taylor’s Version)’: a humble yet powerful tribute to her struggle for art and a calling to all new artists to follow suit. Fans, much like myself, were unsure of the artistic direction with which she would take these re-recordings. Were we to be met with completely updated production and what would happen to that nostalgic country twang which we all fell in love with in the 00’s? 

The moment ‘Love Story (Taylor’s Version)’ had dropped, however, it was clear that Swift had two main goals: to enrich her previous work and to devalue the old masters. With a fuller bass guitar line and the introduction of a hi-hat (honestly the song would not be the same without the hi-hat), the re-record keeps all the nostalgia of its predecessor, but with the richness and maturity of Swift’s now-vocals. I feel truly gifted to be able to relive the hopeful innocence of a 20 year old Swift knowing now all the pain and struggle she has traversed to get to this moment in her career.

Fast forward two months and after a drop of previously unreleased Aaron Dessner-infused ‘You All Over Me (From the Vault),’ with country singer-songwriter Maren Morris, as well as the gritty Joe Jonas diss anthem ‘Mr. Perfectly Fine (From the Vault),’ Swift re-released her beloved second studio album on April 9th, 2021. This time, it was on her own accord. ‘Fearless (Taylor’s Version)’ is everything we’d expect, which is what makes it so utterly 

perfect. As I danced around my room euphorically to the ‘The Other Side of the Door’ and wallowed in the heartbreak of the infamous ‘White Horse’, I, that day, finally understood the mass appeal that this record had in 2008.

I also have no doubt that emotions were running high in the studio upon the rerecording of some of the sadder pieces. ‘The Best Day (Taylor’s Version)’ and ‘Change (Taylor’s Version)’ are pillars of strength in her discography. She sings of having bigger dreams and putting pain behind her, which feels particularly pertinent considering her growth to date. You can hear the tribute to her younger self and you can feel the heart of the music and it is something truly magical. 

There’s no doubt that Swift’s ability to re-record whilst staying relevant and successful are products of her immense financial capital and incredibly dedicated fan base. Many smaller artists experiencing the loss of their masters have fought the same fight as Swift against the patriarchal industry that is music - without as much success.  Swift’s album is more than just a business move then. It marks a new wave of artist integrity and has the potential to shape the way the music industry distributes and manages artists and their music.

With all the youthful wonder and naivety of the original record, Swift delivers a hearty middle finger to all those who wronged her. Not many artists have the power to let you fall in love with them all over again, but here we are. And now, we simply wait for more.