Reclaiming the Masters: Taylor Swift’s Playbook as a Map for Artists (Lessons for Artists on Intellectual Property Rights)
Introduction: Ownership of masters in musical works has always been a contentious issue in the entertainment industry. From time immemorial, artists have entered into record deals with high hopes seeking fame, financial backing, and the infrastructure to launch or boost their careers. However, many artists, in their excitement and desperation, hastily sign contracts without a proper legal review or, worse still, rely on lawyers unfamiliar with the nuances of entertainment law.
A common clause in most record deals is the assignment of ownership of the master recordings to the label, often in perpetuity. This leaves the artist stripped of control over their intellectual property sometimes for life.
The Shalipopi vs. Dapper Dispute
In 2024, a dispute between Nigerian artist Shallipopi and his record label Dapper went viral. In an open letter, Shallipopi claimed that Dapper would retain a percentage of his master recordings forever. Sadly, this isn’t new. Similar issues have occurred in Nigerian music history like the public fallout between Wizkid and Banky W, and the heated legal battle between Kizz Daniel and G-Worldwide all tied to the same ownership struggles.
Taylor Swift and the Master Rights War
Globally, one of the most well-known cases is Taylor Swift’s battle for her masters. Swift initially signed with Big Machine Records early in her career, under which she recorded her first six albums. When her deal ended in 2018, she signed a new contract with Republic Records (a division of Universal Music Group)—this time retaining ownership of any future masters.
But in 2019, Big Machine sold her original masters to Ithaca Holdings, owned by Scooter Braun. Taylor slammed the deal, stating that Braun had “stripped me of my life’s work” and that she was not even given the opportunity to buy her own masters. Legally, because she had signed away those rights, she had no control over the sale.
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However, Taylor fought back by re-recording her albums under the new label. Albums like Fearless (Taylor’s Version) and Red (Taylor’s Version) were released to give fans an alternative to the original versions—and crucially, to allow Taylor to earn from the new masters she now owns.
Her action was a masterclass in intellectual property reclamation and a wake-up call for artists globally: your intellectual property is an investment, not a giveaway.
Understanding Ownership of Intellectual Property in Music
The Copyright Law of Nigeria, like that of the United States, vests initial ownership of musical works (lyrics, melody, sound recordings) in the author or creator. However, once an artist signs a contract that assigns or licenses these rights to a label, the label becomes the owner of the masters and associated IP.
This may include:
- Trademark rights to the artist’s name or branding
- Artwork and album visuals
- Licensing rights for commercial use, endorsements, or media deals
If an artist signs these rights away, the label then has full control and can sell, license, or exploit the works without needing the artist’s further permission. In Taylor Swift’s case, she likely could not claim infringement because her earlier deal legally transferred ownership to Big Machine Records.
What Artists Must Know Before Signing a Contract
Historically, record labels always seek to own the masters and associated Intellectual Property. They invest resources and want maximum control and returns. Here are key points artists must consider:
- Labels are businesses, not charities:
Their contracts are drafted to protect their investments, not yours. No matter how attractive the terms may look, do not sign without a lawyer skilled in entertainment law. - Advances are not free money:
Any advance offered to you will be recouped from your royalties. If the deal structure is poor, you might never see any actual income. - Perpetual ownership clauses are dangerous.
Always negotiate for a reversion clause (rights return to you after a number of years) or a buyout clause (giving you the option to purchase your masters). - Exclusivity limits your freedom:
Labels often include clauses allowing them to license your work to third parties. Make sure these deals are limited to the term of your agreement and include your consent for key usages.
Intellectual Property Is an Asset
Your intellectual property is a valuable, appreciating asset. Like real estate, it can be inherited, sold, leased, or mortgaged. If your masters are transferred to a label, they legally own it and can exploit it without your say.
This is why Taylor Swift couldn’t stop the sale of her original recordings she no longer owned them. The label didn’t need her consent.
Likewise, any artist who signs away their rights should understand: any sampling, interpolation, or mashup of your music will result in compensation being paid to the current owner, not you.
Taylor Swift’s Playbook as a Map for Artists
Taylor Swift’s decision to buy back her catalogue (by re-recording) is a game-changer. It shows that even if you signed a bad deal in the past, you may still recover your IP through strategic negotiation and legal routes.
Her move has inspired a new wave of creators especially upcoming artists to:
- Ask for reversion clauses
- Include buy-back options
- Demand clear timelines for IP control and usage
But can every artist reclaim their Catalogue? Maybe. It depends on the original contract and how well your legal team can negotiate with the current rights holders. It’s not always possible but it’s worth trying.
Conclusion
The fight for ownership of masters is not just a legal battle—it’s a battle for control, legacy, and wealth. Artists must:
- Understand that IP is their estate
- Never treat contracts lightly
- Engage entertainment lawyers who understand the terrain
Remember, your master recordings are your legacy. Don’t be so eager for fame or a Cheque that you sign away your future.
Taylor Swift’s journey offers a vital lesson: if you lose your masters, fight to get them back. If you haven’t signed yet, fight to retain them.