Four years prior to Taylor Swift’s bold initiative to re-record her early albums and regain ownership of her master recordings, the pop-punk band Bowling for Soup embarked on a similar journey. They released Songs People Actually Liked — Volume 1, which featured meticulously crafted, note-for-note renditions of their early fan favorites like “Girl All the Bad Guys Want” and “Punk Rock 101.” They framed this project as an opportunity to showcase their growth as musicians and to “add some luster” to their original tracks, presenting a more mature sound that resonated with their audience. This reimagining of their classics was not merely a nostalgic trip; it was a deliberate attempt to redefine their artistic identity.

While the band emphasized their artistic evolution, they notably refrained from highlighting that the primary goal of their 2015 project was to secure the rights to their songs, enhance streaming royalties, and enable licensing opportunities for movies, advertisements, and television shows. At that time, such motivations may have seemed somewhat opportunistic. “We had to be very careful about never making our audience feel like we were taking advantage of them,” explains Jaret Reddick, the frontman of Bowling for Soup, during a phone call from a Disney cruise in Juneau, Alaska. “Shortly after that, Taylor Swift literally educates the entire music population on song ownership. She made it OK for all of us to re-record our stuff, and everybody will back us. It was such a blessing.” This acknowledgment highlights the significant influence Swift has had on the music industry in terms of artist empowerment.

On May 30, Swift publicly announced her acquisition of the master recordings for her first six albums, spanning from 2006’s Taylor Swift to 2017’s Reputation. This monumental purchase from investment firm Shamrock Capital was made for an undisclosed amount, concluding a six-year struggle following the acquisition of her original label, Big Machine Label Group, by music mogul Scooter Braun. Swift was incensed that the rights to her catalog fell into the hands of Braun, who had associations with her adversary, Kanye West. After numerous attempts to reclaim her music, which included failed negotiations with both Braun and Shamrock—who reportedly purchased the catalog for approximately $360 million—Swift’s victory in regaining her work represents a pivotal moment in her career and the music industry.

Swift’s innovative strategy of re-recording her six albums under the label “Taylor’s Versions,” collaborating with most of the original musicians, has set a powerful precedent. By persuading major radio stations to feature her new versions and encouraging streaming platforms to prioritize them in playlists, she has effectively amplified her music’s reach. Her extensive tours have further promoted these re-recordings, creating a ripple effect that has inspired other artists to consider similar approaches. This phenomenon has led major record labels to revise their contracts to prevent others from replicating the success of “Taylor’s Versions.” Due to the impact of Swift’s re-recordings on the sales and streaming of the original albums, major labels have implemented restrictions that require artists to wait 10, 15, or even 30 years before they can re-record music after leaving their labels. “You try to put the shortest re-recording restriction you can get in the record contract—it used to be five years after release, but now I’ve found they’ve extended it to 10 years,” explains Ben McLane, a seasoned music attorney.

In the wake of Swift’s impactful endeavors, artists continue to follow her lead. For instance, the pop-punk band Cartel recently announced plans to re-record their 2005 album Chroma this upcoming September. “Artists are re-recording their masters more frequently than they were,” says Josh Karp, a legal representative for Cartel and several other artists. “Part of that is definitely that Taylor shined a big bright light on it and showed it could be done successfully.” This shift in the industry is a testament to Swift’s influence and the ongoing evolution of artist rights and ownership in music.

Before Swift’s recent initiatives, legendary artists like Frank Sinatra, Little Richard, and Chuck Berry also sought to re-record their hits to regain financial control over their music. This practice continues to this day, with or without Swift’s influence. For instance, Switchfoot released a new version of their breakthrough album The Beautiful Letdown twenty years after its initial release. Similarly, TLC, Wheatus, and Paris Hilton have taken similar steps in recent years. Notably, Ashanti revealed in 2022 that Taylor Swift inspired her to embark on a comparable project. “It’s also a technological issue,” Karp explains. “It’s simply easier to record now than it was 10, 20, or 30 years ago.” This technological evolution plays a crucial role in the resurgence of re-recording practices among artists.

According to music attorney Gandhar Savur, Swift’s advocacy has enlightened young artists about the advantages of entering into label licensing deals rather than ownership agreements. In licensing deals, artists maintain control over their recordings but typically do not receive an advance payment from the label for expensive recording projects. In contrast, ownership agreements involve the label providing an advance but claiming ownership of the recordings for potentially several decades. “Historically, artists have said, ‘Don’t give away your publishing,’ and that message has gotten across. Now I feel like artists are starting to feel that way about their recordings as well,” Savur notes. “Part of that is a result of big stories and big headlines and Taylor Swift and whoever else talking about the importance of owning their recordings.” This shift in awareness is crucial for shaping the future of artist rights.

After Wheatus completed the re-recording of their 1999 alt-rock hit “Teenage Dirtbag” in April 2020, the new master gained viral attention on TikTok and Instagram during the pandemic lockdown, generating nearly $25,000 for singer-songwriter Brendan Brown, according to estimates from Billboard in 2023. Although Swift did not directly inspire this new version—due to original label Sony Music losing the master recordings—Brown has publicly acknowledged Swift’s role in raising awareness about artists reclaiming their music. “I would love to see the contract,” Brown said during a phone call from a tour bus en route to New Jersey following Swift’s announcement. “But generally the answer is, ‘Yeah. Nice job. Get ’em.’” This sentiment encapsulates the growing momentum for artist empowerment in the music industry.