Scooter Braun denies “malicious intent” amid criticism for buying Taylor Swift’s masters

"I don't do anything with malicious intent. I try to do things above board."

Scooter Braun has denied any wrongdoing after Taylor Swift accused him of “malicious intent” when he purchased her back catalogue earlier this year.

The pop giant accused music mogul Braun of “incessant manipulative bullying” and claimed she was “sad and grossed out” when it emerged that Braun controlled her master records.

Braun took control of Swift’s past recordings when his company Ithaca Holdings bought Big Machine Label Group in June.


Discussing the controversy for the first time, he told the Wide Open podcast, he said: “I don’t do anything with malicious intent. I try to do things above board. I try to do the right thing.

“Not everyone’s going to be happy with everything that you do, and I think in the long-term – I’ve learned this over time – the truth always comes out, and I’m confident in that.”

Swift had been signed to the Big Machine Label Group since starting out as a musician in her teens.

Taylor Swift, live 2019

The label had previously owned the rights to her first six albums, including 2014’s seminal 1989.

While Swift moved to Universal Music Group in November last year, she has since confirmed that she plans to re-recording her old songs in the wake of the sale.


Earlier this month, Swift heightened speculation that a Glastonbury performance could be on the cards in 2020, after she announced her return to touring with a long run of European and US festival dates.

A curious gap in her schedule at the end of June might mean that she could be due to perform at  the iconic festival.

In a four-star review of ‘Lover’, NME concluded: “Swift is hardly the first singer-songwriter to sound most comfortable when she’s singing about herself. Despite the odd dud, ‘Lover’ is a welcome reminder of her songwriting skills and ability to craft sonically inviting pop music. Together with co-producers including Jack “Bleachers” Antonoff and Joel Little (Lorde, Khalid), she’s made another slick and accessible record flecked with surprising production flourishes. ‘False God’ offers a balmy mix of sax and trap, the shimmering ‘Death Of a Thousand Cuts’ has echoes of ‘Tango In The Night’-era Fleetwood Mac, and ‘Paper Rings’ is an ‘80s-style pop stomper punctuated with Ramones-style “eh! oh!”s. Yes, really.”

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