Taylor Swift ¦ Red (Taylor’s Version)

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Red (Taylor’s Version)
The cover image features Taylor Swift in red lips wearing a matching red hat.
Re-recorded album by
ReleasedNovember 12, 2021 (2021-11-12)
Taylor Swift chronology
Fearless (Taylor’s Version)
Red (Taylor’s Version)
Singles from Red (Taylor’s Version)
  1. I Bet You Think About Me
    Released: November 15, 2021
  2. Message in a Bottle
    Released: November 2021[note 1]

Red (Taylor’s Version) is the second re-recorded album by American singer-songwriter Taylor Swift, released on November 12, 2021, through Republic Records. It is a re-recording of Swift’s fourth studio album, Red (2012), following her first re-recorded album, Fearless (Taylor’s Version), which was released in April 2021. The re-recording venture is Swift’s countermeasure against the changed ownership of the masters to her first six studio albums.

The album encompasses re-recorded versions of 20 songs from the Red deluxe edition and Swift’s 2012 charity single „Ronan“; the 10-minute-long, unabridged version of „All Too Well“; Swift’s own recordings of „Better Man“ (2016) and „Babe“ (2018), both of which she wrote but gave away to other country artists; and six new „From the Vault“ tracks that were intended for the 2012 album. Swift and Christopher Rowe produced most of Red (Taylor’s Version), while Aaron Dessner, Jack Antonoff, Paul Mirkovich, Espionage, Tim Blacksmith, Danny D, and Elvira Anderfjärd handled the rest. Shellback, Dan Wilson, Jeff Bhasker, Jacknife Lee, and Butch Walker also returned to produce the re-recordings of tracks they had worked on in 2012. Phoebe Bridgers and Chris Stapleton joined the album as guest vocalists alongside original features from Gary Lightbody and Ed Sheeran.

Red (Taylor’s Version) was met with widespread acclaim from music critics who admired Swift’s vocal performances, the production quality, and the new tracks. Reviews described it as a classic pop record expanding from Swift’s country roots into electronic, synth-pop and rock flairs, whilst chronicling various dynamics of love, life, loss and heartache. The album broke a string of commercial records, such as the Spotify feat for the largest single-day streams for an album by a female artist and the biggest vinyl sales week in MRC Data history. It topped the charts in Argentina, Australia, Canada, Ireland, New Zealand, Norway, Scotland and the United Kingdom, as well as the United States where Swift surpassed Elton John’s 46-year-old record to become the fastest soloist in Billboard 200 history to collect four number-one albums, doing so in under 16 months.

Swift promoted the album with televised appearances on NBC. The songs „I Bet You Think About Me“ and „Message in a Bottle“ were released as country and pop radio singles, respectively. „All Too Well (10 Minute Version)“ became Swift’s eighth number-one song on the US Billboard Hot 100 and the longest number-one song of all time—a Guinness World Record. Twenty-five other tracks from the album also charted on the Hot 100 the same week, setting the record for the most single-week new entries ever by an artist. Swift wrote and directed All Too Well: The Short Film, a romantic drama starring Sadie Sink and Dylan O’Brien, released on November 12 to rave reviews as well. Various publications have identified the roll-out of Red (Taylor’s Version) as a key pop-culture moment of 2021.


Musically and lyrically, Red resembled a heartbroken person. It was all over the place, a fractured mosaic of feelings that somehow all fit together in the end. Happy, free, confused, lonely, devastated, euphoric, wild, and tortured by memories past. Like trying on pieces of a new life, I went into the studio and experimented with different sounds and collaborators. And I’m not sure if it was pouring my thoughts into this album, hearing thousands of your voices sing the lyrics back to me in passionate solidarity, or if it was simply time, but something was healed along the way.

— Swift looking back on Red on her social media[2]
Taylor Swift singing "Red" over an electric guitar
Swift performing at the Red Tour (2013)

Taylor Swift’s fourth studio album, Red was released on October 22, 2012, by Big Machine Records. It witnessed Swift expand beyond her country roots and explore mainstream pop, incorporating a variety of genres.[3][4] The effort was met with generally positive reviews and widespread commercial success. It garnered Swift’s first number-one song on the US Billboard Hot 100, the album’s lead single „We Are Never Ever Getting Back Together“, and other successful singles in 2012 and 2013, such as „I Knew You Were Trouble“, „22″ and „Everything Has Changed“.[5] Red became Swift’s first number-one album in the UK, and her album with the most UK top-10 singles so far.[6] Over the years, the album collected critical praise for showcasing Swift’s artistry and versatility.[7] It became one of the most acclaimed albums of the 2010s decade, appearing on many decade-end best-music lists.[8] Rolling Stone placed it at number 99 on its list of the 500 Greatest Albums of All Time.[9] As of June 2021, Red has moved over 7.5 million album-equivalent units in the US alone.[5]

As per her contract with Big Machine, Swift released six studio albums under the label from 2006 to 2017. In late 2018, the contract with the label expired; she hence withdrew from Big Machine and signed a new recording deal with Republic Records, a division of Universal Music Group, which secured her the rights to own the masters of the new music she will release.[10] In 2019, American businessman Scooter Braun and his company Ithaca Holdings acquired Big Machine.[11] As part of the acquisition, ownership of the masters to Swift’s first six studio albums, including Red, transferred to Braun.[12] In August 2019, Swift denounced Braun’s purchase of the label, and announced that she would re-record her first six studio albums, so as to own their masters herself.[13] In November 2020, Braun sold the masters to Shamrock Holdings, an American private equity firm owned by the Disney estate,[note 2] under the conditions that Braun and Ithaca Holdings will continue to financially profit from the albums.[14] Swift began re-recording the albums in November 2020.[15]

Fearless (Taylor’s Version), the first of her six re-recorded albums, was released on April 9, 2021. It achieved critical and commercial success,[16] and debuted at number one on the Billboard 200 chart as the first re-recorded album in history to top the chart,[5] a return to the number-one spot 13 years after the original release in 2008.[2] All of its singles, „Love Story (Taylor’s Version)“, „You All Over Me“, and „Mr. Perfectly Fine“, peaked inside the top 10 of the Billboard Hot Country Songs, the first of which was her first number-one on the chart since „We Are Never Ever Getting Back Together“ and made her only the second artist in history to top the chart with both the original and re-recording of the same song, after „I Will Always Love You“ by Dolly Parton.[17]

Music and lyrics

[Red (Taylor’s Version) is] meticulously reproduced. The drums might be sharper in „I Knew You Were Trouble“ and the guitars brush with more prominence and clarity in „22″ but these technical improvements don’t diminish the spirit of the 2012 edition. As well, Swift’s voice has, naturally, gained muscularity and confidence with age [...] She still hits the higher range at the end of „Everything Has Changed“, her soft duet with Ed Sheeran, and nails the giggle and „it’s so fun!“ proclamation that wraps „Stay Stay Stay“. Those who may have forgotten one of the album’s prettiest songs, „The Last Time“, with Snow Patrol singer Gary Lightbody, are also reminded of its hushed beauty.

— Melissa Ruggieri, USA Today critic[18]

Red (Taylor’s Version) has been labeled as a pop[19] and country album[20] driven by organic instruments and electronic elements, further containing synth pop and arena rock songs.[19][21][22] All of the album’s tracks, excluding the „from the Vault“ tracks, are musically identical to their original 2012 recordings, except „Girl at Home“, which now has an electropop production, compared to its original country pop counterpart.[23][24][25]

Songs „From the Vault“

Tracks 22–30 are denoted as the „From the Vault“ tracks, the newly added songs to the re-recording of Red. „Better Man“ is a country ballad set to a banjo.[19] It sees Swift detail her post-breakup pain.[26]Nothing New“ is a folk duet with Phoebe Bridgers, with lyrics dealing with insecurities around aging,[19] growing old,[22] and the „unfair social expectations on young women“.[26]Babe“ is a ska pop song[27] with slide guitar, keys and percussion. Its lyrics describe the missteps in a dissolving relationship.[26]

Message in a Bottle“ is a dynamic, dance track about the beginnings of a romantic connection.[26]I Bet You Think About Me“ is a country pop song featuring background vocals by Chris Stapleton,[28] and a prominent harmonica.[26] It addresses a „high tone“ love interest.[22] „Forever Winter“ is a power pop song opening with energetic brass.[19] Swift’s vocals in the song are characterized by „nuanced, wide-ranging“, fast paced, breathy notes of syllables, set to horns, flutes and guitars. Lyrically, „Forever Winter“ is directed to a friend of Swift with mental health struggles.[26]

„Run“ is an acoustic, indie folk-leaning duet with Ed Sheeran.[19] It is guided by a twiddling guitar and orchestral compositions, while its lyrics consisting of romantic gestures.[26] „The Very First Night“ is an uptempo dance-pop song driven by electronic programming and banjo in which Swift wishes she could go back in time to make a moment perfect.[26]All Too Well (10-Minute Version)“ is a slow ballad driven by a thudding and insistent bass guitar, and additional verses, chorus with a downtempo outro. Its lyrics take a more feminist proposition compared to the five-minute version,[19] and incorporates the popular William Shakespeare quote „All’s Well That Ends Well“.[22]


American singer-songwriters Phoebe Bridgers (left) and Chris Stapleton (right) were the new guest features on the album, in „Nothing New“ and „I Bet You Think About Me“, respectively.


The cover artwork of Red (Taylor’s Version) depicts Swift wearing red lipstick, a beige peacoat and a burgundy-colored „Matti“ velvet fisherman’s cap, seated in a vintage 1932 Chevrolet Cabriolet convertible against an autumnal background. Janessa Leoné designed the cap, which quickly sold out on Leoné’s website.[29][30] Swift also wears a customized Red ring on the cover, designed by jeweler Cathy Waterman; she wore Waterman’s signature Love ring, gifted to her by Waterman’s daughter Claire Winter Kislinger in 2011, while writing the original Red (2012).[31]


On June 18, 2021, Swift revealed that Red (Taylor’s Version), the re-recorded issue of Red, would be released on November 19, 2021, and would contain all 30 songs that were meant to be on the 2012 version.[5] She also teased the highly requested, original 10-minute-long version of the fan-favorite track „All Too Well“ as part of the track listing,[32][33] which was „probably a 20-minute song“ according to American songwriter Liz Rose,[note 3] who had co-written some tracks on Swift’s first two studio albums, Taylor Swift (2006) and Fearless (2008).[37] Alongside the announcement, pre-orders for the digital album were made available.[38]

On June 27, English singer-songwriter Ed Sheeran appeared on The Official Big Top 40, where he confirmed his involvement with Red (Taylor’s Version), saying he re-recorded „Everything Has Changed“—his duet with Swift on Red.[39] Three days later, Swift’s 2012 charity single, „Ronan“, was also confirmed as a track on the album by Swift’s co-writer and the mother of the song’s subject, Maya Thompson, via her blog.[40][41] On August 5, Swift posted a cryptic video across her social media, teasing a word puzzle for the fans to solve; it spelled out „Chris Stapleton“, „Phoebe Bridgers“, „Babe“, „Better Man“, and „All Too Well Ten Minute Version“.[42][43] Concurrently, pre-orders for the album’s CDs went up on Swift’s website.[42] She posted the official track listing on August 6.[44] Before releasing any song from Red (Taylor’s Version), Swift released „Wildest Dreams (Taylor’s Version)“ on September 17, a track set to appear on the re-recording of her 2014 studio album, 1989. She said she saw „Wildest Dreams“ trending on TikTok and thought fans should have her version.[45]

On September 30, Swift announced Red (Taylor’s Version) would be released on November 12, a week earlier than scheduled.[46] She confirmed the album’s vinyl LPs would also be shipped the same week.[2] A snippet of the title track, „Red (Taylor’s Version)“, featured in a teaser video posted by Swift on October 24, sporting a red dress, the Red ring from the album cover, alongside an array of red clothes and accessories.[47] On November 5, via Good Morning America, Swift revealed a teaser for All Too Well: The Short Film, which is based on and titled after the namesake song, screening on November 12 alongside the album. The teaser showed a vintage car driving past a road bounded by autumnal woods, and that it was written and directed by Swift, starring herself, Sadie Sink, and Dylan O’Brien.[48] On November 11, the official film poster was revealed on her social media,[49] followed by a short teaser of the album’s 24th track, „Babe (Taylor’s Version)“, on Tumblr.[50]

Swift released four six-song compilations, Red (Taylor’s Version): Could You Be the One Chapter, Red (Taylor’s Version): She Wrote a Song About Me Chapter, Red (Taylor’s Version): The Slow Motion Chapter and Red (Taylor’s Version): From The Vault Chapter on January 13, 18, 25 and 31, 2022, respectively.[51][52]


Swift promoted the album on all three late-night shows of American television network NBC, all of which were taped at 30 Rockefeller Plaza;[33] she appeared on the talk shows The Tonight Show Starring Jimmy Fallon and Late Night with Seth Meyers that aired back-to-back on November 11, followed by the album’s release at midnight.[53] She appeared as the musical guest of the live sketch comedy show Saturday Night Live on November 13,[54] her fifth appearance on the show,[55] where she performed the 10-minute version of „All Too Well“.[56] The first live performance of „All Too Well (10 Minute Version) was at Lincoln Center, New York City, on November 12, following the première of Swift’s self-directed All Too Well: The Short Film, which stars Sadie Sink and Dylan O’Brien.[57] Starbucks partnered with Swift to commemorate the release of Red (Taylor’s Version), which coincided with the company’s „red cup holiday season“; customers were able to order Swift’s favorite coffee drink by simply ordering a „Taylor’s Latte“, whereas her music, including the album, were played inside Starbucks stores.[58]


On November 15, 2021, „I Bet You Think About Me“ featuring Chris Stapleton was serviced to U.S. country radio stations as a single from the album.[59] On the same day, „All Too Well (10 Minute Version)“ with a digital cover artwork was made available for download on Swift’s webstore as a promotional single.[60] The song debuted atop the Billboard Hot 100. It became Swift’s eighth number-one on that chart and the longest number-one song in history, surpassing the previous record-holder Don McLean’s „American Pie (Parts I and II)“.[61]Message in a Bottle“ impacted U.S. pop radio later that month.[1]

Critical reception

Professional ratings
Aggregate scores
Review scores
The A.V. ClubA–[65]
The Guardian[27]
The Independent[19]
The Line of Best Fit9/10[67]
The New Zealand Herald[24]
Rolling Stone[22]

Red (Taylor’s Version) received widespread acclaim from music critics,[69] with emphasis on the evolution of Swift’s vocals and the layered instrumentation.[70] At Metacritic, which assigns a normalized rating out of 100 to reviews from professional publications, the album received a weighted mean score of 91 based on 16 reviews, indicating „universal acclaim“; it is Swift’s highest-rated project on the site and the second-highest rated album of 2021, behind Carnage by Australian musicians Nick Cave and Warren Ellis.[63][71]

In a rave review, Lydia Burgham of The New Zealand Herald hailed Red (Taylor’s Version) as Swift’s magnum opus.[24] Rolling Stone music critic Rob Sheffield wrote „the new Red is even bigger, glossier, deeper, casually crueler“, powered by Swift’s adult voice.[22] Helen Brown of The Independent stated Red (Taylor’s Version) is a „better, brighter version of a terrific pop album“.[19] NME’s Hannah Mylrea praised the album’s newly added tracks, and highlighted the sharper production quality and the „instrumentation being brought further into focus“.[68] Beth Kirkbride, writing for Clash, said that, with the new additions, Red (Taylor’s Version) is a „medley of genres“ toying with various styles. She described its subject matter as „an exercise in catharsis“ that retreads like a storybook of Swift’s formative years.[66]

Kate Solomon of i wrote that Swift’s voice is „leagues better now“ and „the vocal furniture that she adds to the songs are like her revelling in that knowledge, flexing newly limber muscles.“[72] Under the Radar reviewer Andy Von Pip commended Red (Taylor’s Version) for having a sharper production and „richer“ vocal performances than Red without losing the seriousness and emotional heft of its subject matter.[73] Variety’s Chris Willman called its vault tracks „a collection of songs that doesn’t have a real dud“.[74] Reviewing for The Line of Best Fit, Paul Bridgewater opined that Red (Taylor’s Version) „balances fan service alongside an insightful documentation of one of modern pop’s best songwriters at a key juncture in her career“, and added that Swift has carefully curated the expanded track-list without devolving from the album’s original appeal.[67] Slant Magazine critic Jonathan Keefe stated that Red (Taylor’s Version) is a testament to the growth of Swift’s musicality and praised the album’s instrumental quality for giving its songs „a stronger emotional resonance“.[75]

Calling Red (Taylor’s Version) a „highly rewarding listen“ for both fans and causal listeners and „another towering victory“ for Swift after Fearless (Taylor’s Version), Bobby Olivier of Spin praised all aspects of the album—the vocal performances, songwriting, and production.[76] Consequence’s Mary Siroky felt the expanded record functions as a closure to the original album, allowing Swift to „finish the story on her terms“.[23] Receiving the coveted „Best New Music“ honor from Pitchfork, critic Olivia Horn said Red (Taylor’s Version) contains Swift’s signature „ecstatic, expressive vocals, tart humor, vivid imagery, and tender attention to the nuances of love and loss“, and makes an artistic statement about revisiting the past, „both the flattering and the less flattering bits“.[25][77] The Atlantic’s Spencer Kornhaber said Swift „continues to push herself to new places as she doubles down on the things that make her beloved“.[78]

Melissa Reguieri, in her USA Today review, appreciated the versatile musicality, strong vocals, meticulous replication, and enhanced production quality of Red (Taylor’s Version), as well as regarding the album an „intriguing study“ of Swift’s lyrical proficiency.[79] Sputnikmusic called the album „an absolute triumph“ for the insight of its musical and lyrical approach, and criticized their own „immature“ review of the album in 2012, confirming „Swift’s observations about love and life at age twenty-two were simply amazing“.[80] The Guardian writer Laura Snapes stated that Swift’s voice is richer and more mature in the re-recorded album, but its lack of twang „slightly blunts the rabid, deliciously vindictive edge that fuelled the original’s tumultuous depiction of heartbreak“.[27]


Red (Taylor’s Version) received many accolades of the music industry, such as placements on best-of lists. At the forthcoming 2022 Billboard Music Awards, Swift has acquired seven nominations, including a Top Country Album nomination for Red (Taylor’s Version); she is also contending for Top Artist, Top Female Artist, Top Country Artist, Top Country Female Artist, and Top Billboard 200 Artist.[81]

Rankings of Red (Taylor’s Version) on 2021 year-end lists
BillboardThe 50 Best Albums of 202125[82]
ClashThe 50 Best Albums of 202112[83]
InsiderThe Best Albums of 2021
MetacriticThe 40 Best Albums of 20212[85]
PeopleThe Top Albums of 2021
Awards and nominations for Red (Taylor’s Version)
Guinness World Records2022Most Day-one Streams of An Album on Spotify (Female)Won
NME Awards2022Best ReissueWon
Kids Choice Awards2022Favorite AlbumNominated
Billboard Music Awards2022Top Country Album[note 4]Pending

Commercial performance

Upon release, Red (Taylor’s Version) broke several streaming records. It became the most-streamed album in a day from a female artist on Spotify, with more than 90.8 million global opening-day streams, surpassing the previous record of 80.6 million by Swift’s own Folklore (2020). Bolstered by the album’s strong performance, Swift also became the most streamed woman in a single day—with more than 122.9 million global streams on the platform across her entire discography—and the first woman in Spotify history to amass 100 million streams in a day.[90] The album moved over 1.2 million copies globally in its first week.[91] All of the album’s tracks appeared on the Billboard Global 200 chart as 28 new entries,[note 5] alongside „Enchanted“ (2010), „Blank Space“ (2014) and „Wildest Dreams (Taylor’s Version)“ (2021), giving Swift a sum of 31 songs charting in the same week (November 27, 2021); 25 of those were in the top 100 region.[92] At the end of the year, Swift was the most streamed woman on Spotify in 2021, and the second most streamed act behind Puerto Rican rapper Bad Bunny.[93] The International Federation of the Phonographic Industry (IFPI) reported that Swift was the world’s best selling soloist and female artist of 2021, for a third consecutive year.[94]

United States

Within five days of its release, Red (Taylor’s Version) sold over 500,000 album-equivalent units, including 325,000 album sales, which marked 2021’s largest sales week for an album already, surpassing Swift’s own Evermore (2020). Of those sales, 112,000 were in the vinyl LP format, breaking the record for the largest vinyl sales week for an album in the history of MRC Data (also held previously by Evermore). Concurrently, Swift had three of the four largest album sales weeks of 2021, with Red (Taylor’s Version), Evermore and Fearless (Taylor’s Version).[95][note 6]

Upon completion of its full tracking week, Red (Taylor’s Version) debuted at number one on the Billboard 200 with 605,000 units, marking the then-second largest week of 2021, behind Drake’s Certified Lover Boy (613,000). The first-week sum consists of 303.23 million on-demand streams, the largest streaming week of 2021 for an album by a woman, the second-largest ever after Ariana Grande’s 2019 album Thank U, Next (307.1 million streams), and the biggest for a country album, surpassing Morgan Wallen’s 2021 album Dangerous: The Double Album (240.18 million). The album opened with 369,000 pure album sales, of which 114,000 were vinyl LP sales, and marked the largest sales week for a country album since Luke Bryan’s Crash My Party sold 528,000 copies in 2014. It marked Swift’s tenth Billboard 200 chart-topper, making her the second woman to score that many number-one albums after Barbra Streisand, who has 11. Swift also became the fastest soloist to earn four number-ones on the Billboard 200 (less than 16 months), breaking Elton John’s 46-year-old record.[98] The album further topped the Top Country Albums as Swift’s seventh number-one and spent 7 weeks at the top,[99] helping Swift surpass Shania Twain as the longest reigning female artist of the chart with 98 weeks atop it.[100] Red (Taylor’s Version) ranked second on the best-selling albums list of 2021, alongside Fearless (Taylor’s Version), Evermore and Folklore in the top 10.[101]

26 of the album’s tracks entered the Billboard Hot 100 simultaneously, setting the records for the most debuts on the Hot 100 in a single week and the most simultaneous Hot 100 entries by a female artist, both of which were held by Swift herself with the release of Lover (2019). Her career total entries increased to 164, extending her record for the most Hot 100 entries by a female artist. Four of those tracks landed inside the Hot 100’s top 40 region, bringing Swift’s sum of top-40 entries to 85—the third highest sum in history, surpassing Elvis Presley.[102]All Too Well (Taylor’s Version)“, carried by the success of its 10-minute rendition, arrived atop the Hot 100 chart as Swift’s eighth number-one song in the US. Swift became the first act in history to debut at number-one on both the Billboard 200 and Hot 100 charts simultaneously in three different occasions, following „Cardigan“ and Folklore in August 2020 and „Willow“ and Evermore in December 2020.[103]


Red (Taylor’s Version) opened at the number one spot of the Billboard Canadian Albums, scoring Swift her tenth consecutive number-one album in Canada. All of its tracks debuted on the Canadian Hot 100 chart together, with „All Too Well (Taylor’s Version)“ at number one, „State of Grace (Taylor’s Version)“ at number 9, and nine other tracks in the top 40.[104] Red (Taylor’s Version) was the best-selling country album in Canada by a female artist in 2021. Overall, it was the fifth best-seller across all genres, and one of the top 10 best-selling digital, CD and vinyl albums.[105]

In the United Kingdom, the album debuted at number one on the UK Albums Chart and moved over 72,000 units within its first week. It became Swift’s eighth consecutive number-one album, tying her with Kylie Minogue as the female artists with the second most number-one albums in the UK, only behind Madonna (12). Red (Taylor’s Version) earned the highest opening-week sales for a female artist in 2021, eclipsing Sour by Olivia Rodrigo (51,000 units).[106][note 6]

It also topped the Irish Albums Chart as Swift’s seventh number-one album in Ireland—the most for a female artist this millennium. The album debuted atop the chart alongside „All Too Well (Taylor’s Version)“ debuting atop the Irish Singles Chart, marking a „chart double“. Additionally, „State of Grace (Taylor’s Version)“ and „Red (Taylor’s Version)“ arrived at numbers 7 and 9 on the singles chart, respectively.[107]

In Australia, Swift achieved a chart double by topping both ARIA Albums and Singles charts simultaneously; she scored her ninth number-one album on the former with Red (Taylor’s Version) and her second of 2021 following Fearless (Taylor’s Version). Swift became the first artist in the history of the ARIA Charts to have four number-one albums in a span of two years. Additionally, she tied Eminem for the most consecutive number one albums on the ARIA Albums Chart, at nine each. „All Too Well (Taylor’s Version)“ debuted atop the singles chart as Swift’s eighth Australian number-one song. It marked the fourth time she achieved a chart double, after 1989 and „Blank Space“ in 2014, Folklore and „Cardigan“, and Evermore and „Willow“. Eleven other tracks from Red (Taylor’s Version) also entered the ARIA Singles Chart the same week.[108] The album debuted at number one on the New Zealand Albums Chart as well, as Swift’s tenth number one album there. In Japan, the album debuted at number 15 on the Oricon Albums Chart,[109] and on the Japanese Hot Albums Billboard Japan at number 16.[110]


The logo of Red (Taylor's Version)
The logo of the re-recorded album, depicting the additional „Taylor’s Version“ subtitle

Various brands and companies[note 7] used their social media accounts to endorse the album; some of them added „(Taylor’s Version)“ to their Twitter usernames during the release week.[111] Fitness equipment manufacturer Peloton announced that the album’s songs will be used in their on-demand classes, such as of cycling, running, and yoga, upon popular demand.[112] Paper wrote that Swift’s impact was „felt across social media“, with the brands „capitalizing on her momentum“.[111] Inc. said the companies leveraged the album’s cultural relevance.[113] Beauty company Cosmetify reported that Google searches for „red lipstick“ increased 669 percent following the release of Red (Taylor’s Version).[114]

Media outlets and fans online dubbed Red (Taylor’s Version) as part of a 2021 music trend called „Sad Girl Autumn“ or „Sad Girl Fall“, which refers to the release of melancholic and introspective music by female artists during autumn, such as Adele’s 30 and Mitski’s „The Only Heartbreaker“; it is a counterpart to „Hot Girl Summer“, a catchphrase coined by American rapper Megan Thee Stallion with her 2019 song of the same name. Swift herself acknowledged the phenomenon by releasing an acoustic rendition of „All Too Well (10 Minute Version)“ subtitled „Sad Girl Autumn Version“.[115]

The Wall Street Journal stated that Red (Taylor’s Version) is „reshaping the music industry“, highlighting how the re-recorded songs are outperforming their original counterparts on streaming services, going viral on TikTok, and landing „lucrative“ licensing deals for usage in motion pictures. According to the newspaper, Universal Music Group—the parent company of Republic Records—implemented stricter terms in recording deals which effectively doubled the time before an artist can rerecord their music. Other changes in the contracts included increased royalty payments to artists following their demands for better revenue shares.[116] Variety named Swift the „Queen of Stream“ for setting multiple streaming records with the release of Red (Taylor’s Version).[117] Rolling Stone opined „it’s no small feat“ for a re-released album to score a number-one song, and said deluxe or special editions of albums are often „gimmicky“, but Red (Taylor’s Version) challenged that norm and evolved on the original album rather than attempting to replace it.[118]

Publications described the release of Red (Taylor’s Version), „All Too Well (10 Minute Version)“, the accompanying short film, and Swift’s re-recording venture overall as one of the biggest newsmakers and pop culture moments of 2021.[119][120][121] Vogue called it a „multimedia, news-cycle-dominating release“ and stated „nobody releases (or rereleases!) an album like Swift.“[122] The Recording Academy called Red (Taylor’s Version) a pop phenomenon that defined 2021.[123] Ms. and Slate journalists stated Red (Taylor’s Version) is a testament to Red’s legacy, highlighting how critics in 2012 called Red a sub-par album citing its „hyper-emotionality and obsessive romanticism“ but eventually saw it as a „masterclass in pop songwriting and poetry ahead of its time“. Ms. wrote the period’s sexist scrutiny downplayed her artistry; Slate stated the media had no sympathy for Swift, painting her as a „boy-crazy, vengeful ex“ and failing to assess Red without prejudice.[77][70] Billboard named Swift the „Greatest Pop Star of 2021“ for her „unequivocal“ success that year.[124] Rolling Stone reported she was the highest-paid female musician of 2021.[125]

Track listing

Standard edition
1.State of GraceTaylor Swift4:55
  • Swift
  • Rowe
4.I Knew You Were Trouble
  • Swift
  • Rowe
  • Shellback
5.All Too Well
  • Swift
  • Rowe
  • Swift
  • Martin
  • Shellback
  • Swift
  • Rowe
  • Shellback
7.„I Almost Do“Swift
  • Swift
  • Rowe
8.We Are Never Ever Getting Back Together
  • Swift
  • Martin
  • Shellback
  • Swift
  • Rowe
  • Shellback
9.„Stay Stay Stay“Swift
  • Swift
  • Rowe
10.The Last Time(featuring Gary Lightbody of Snow Patrol)
11.„Holy Ground“SwiftJeff Bhasker3:22
12.„Sad Beautiful Tragic“Swift4:44
13.„The Lucky One“SwiftBhasker4:00
14.Everything Has Changed(featuring Ed Sheeran)
  • Swift
  • Sheeran
Butch Walker4:05
  • Swift
  • Rowe
  • Mirkovich[a]
16.Begin AgainSwift
  • Swift
  • Rowe
17.„The Moment I Knew“Swift
  • Swift
  • Rowe
  • Mirkovich[a]
18.„Come Back... Be Here“
  • Swift
  • Wilson
19.„Girl at Home“SwiftElvira Anderfjärd3:40
20.„State of Grace“ (acoustic version)Swift
  • Swift
  • Rowe
  • Swift
  • Maya Thompson
  • Swift
  • Rowe
22.Better ManSwift4:57
23.Nothing New(featuring Phoebe Bridgers)Swift
  • Swift
  • Dessner
25.Message in a Bottle
  • Swift
  • Martin
  • Shellback
  • Anderfjärd
  • Shellback
26.I Bet You Think About Me(featuring Chris Stapleton)
  • Swift
  • Dessner
27.„Forever Winter“
  • Swift
  • Antonoff
28.„Run“ (featuring Ed Sheeran)
  • Swift
  • Sheeran
  • Swift
  • Dessner
29.„The Very First Night“3:20
30.All Too Well (10 Minute Version)
  • Swift
  • Rose
  • Swift
  • Antonoff
Total length:130:26
Apple Music bonus track
31.„A Message from Taylor“Swift0:25
Total length:130:51


  • [a] signifies executive producer
  • All tracks on the standard edition are noted as „Taylor’s Version“; tracks 22-30 are additionally noted as „From the Vault“.[44]
  • The album’s CD package consists of two discs; one containing tracks 1-16, and the other with tracks 17-30.



  • Taylor Swift – vocals (all tracks), background vocals (1–4, 6–9, 11–15, 17, 18)
  • Amos Heller – bass guitar (1, 2, 4–9, 16, 20), synth bass (5, 6, 8), clapping (9)
  • Matt Billingslea – drums, percussion (1, 2, 4–9, 16, 20, 21); vibraphone (1), drum programming (4, 6, 8), clapping (9)
  • Max Bernstein – electric guitar (1, 2, 4, 9), synthesizer (4–6, 8, 9, 16, 20), acoustic guitar (7), steel guitar (16)
  • Mike Meadows – electric guitar (1), synthesizer (1, 2, 4, 6, 8), Hammond B3 (2, 16), acoustic guitar (4–9, 11, 13, 16, 20), background vocals (5, 9), clapping (9), mandolin (9, 16), piano (21)
  • Paul Sidoti – electric guitar (1, 2, 4–6, 8, 9, 16, 21), acoustic guitar (7), piano (20)
  • Jonathan Yudkin – strings (1, 2, 17), bouzouki (2), violin (16)
  • David Cook – piano (2, 5, 16)
  • Dan Wilson – bass, guitar (3, 18); background vocals (3)
  • Aaron Sterling – drums, percussion, programming (3, 18)
  • Andy Thompson – electric guitar (3), keyboards (3, 18), bass, conductor, synth bass (18)
  • Sara Mulford – piano (3, 18), synthesizer (18)
  • Dan Burns – programming (4, 6, 8)
  • Jacknife Lee – bass, guitar, keyboards, piano (10)
  • Davide Rossi – string arrangement, cello, viola, violin (10)
  • Matt Bishop – drums (10)
  • Gary Lightbody – vocals, guitar (10); background vocals (14)
  • Owen Pallett – string arrangement (10)
  • Bebel Matsumiya – background vocals (11, 13)
  • Jeff Bhasker – background vocals, synthesizer (11, 13)
  • Ian Gold – drum programming (11, 13)
  • Anders Mouridsen – electric guitar (11, 13)
  • Alexander Sasha Krivtsov – acoustic bass guitar (12, 17), electric bass (15)
  • Justin Derrico – acoustic guitar (12, 15, 17), bouzouki, electric guitar (15); ukulele (17)
  • Nate Morton – drums (12, 15, 17), drum programming (15)
  • Paul Mirkovich – piano, synthesizer (12, 15, 17); synth bass (12, 17), drum programming (15, 17)
  • Ed Sheeran – vocals, acoustic guitar (14, 28); background vocals (14)
  • Butch Walker – background vocals, bass, drums, guitar, keyboards, percussion (14)
  • Pete Amato – drum programming (15)
  • Charlie Judge – accordion (16)
  • Caitlin Evanson – background vocals (16, 22)
  • Liz Huett – background vocals (17, 22)
  • Dan Lawonn – cello (18)
  • Kirsten Whitson – cello (18)
  • Ruth Marshall – cello (18)
  • Charlie Block – double bass (18)
  • David Campbell – string arrangement (18)
  • Sam Bergman – viola (18)
  • Valerie Little – viola (18)
  • Allison Ostrander – violin (18)
  • Conor O’Brien – violin (18)
  • Erika Hoogeveen – violin (18)
  • Felicity James – violin (18)
  • Huldah Niles – violin (18)
  • Kate Bennett – violin (18)
  • Mary Alice Hutton – violin (18)
  • Natalia Moiseeva – violin (18)
  • Natsuki Kumagai – violin (18)
  • Troy Gardner – violin (18)
  • Elvira Anderfjärd – background vocals, bass, drums, keyboards, programming (19, 25)
  • Aaron Dessner – acoustic guitar, bass guitar, electric guitar, keyboards, piano (22, 23, 26); synthesizer (22, 23, 28), drum programming (22, 28)
  • Josh Kaufman – electric guitar (22, 26, 28), lap steel guitar (22, 26), acoustic guitar, mandolin (22); harmonica (26)
  • London Contemporary Orchestra – orchestra (22, 26, 28)
    • Orchestra leader – Galya Bisengalieva
    • Conductor – Robert Ames
    • Cello – Jonny Byers, Max Ruisi, Oliver Coates
    • Double bass – Dave Brown
    • Viola – Clifton Harrison, Matthew Kettle, Stephanie Edmundson, Zoe Matthews
    • Violin – Anna Ovsyanikova, Anna de Bruin, Antonia Kesel, Charis Jenson, Charlotte Reid, Eloisa-Fleur Thorn, Galya Bisengalieva, Guy Button, Natalie Klouda, Nicole Crespo O’Donoghue, Nicole Stokes, Zara Benyounes
  • James Krivchenia – drums, percussion (22, 26, 28)
  • Clarice Jensen – cello (23)
  • Yuki Numata Resnick – violin (23)
  • Phoebe Bridgers – vocals (23)
  • Jack Antonoff – acoustic guitar, bass, electric guitar, keyboards (24, 27, 30); Mellotron, percussion, programming (24, 27, 30); drums (24, 27), 12-string acoustic guitar (27), slide guitar (30)
  • Mikey Freedom Hart – acoustic guitar (24), celesta, Hammond B3 (24, 30); electric guitar, slide guitar, synthesizer (24, 27); bass, pedal steel (27); baritone guitar, organ (30), piano, Wurlitzer organ (30)
  • Sean Hutchinson – drums, percussion (24, 27, 30)
  • Evan Smith – flute, saxophone (24, 27, 30); synthesizer (30)
  • Michael Riddleberger – percussion (24, 27, 30)
  • Cole Kamen-Green – trumpet (24, 27)
  • Shellback – guitar, keyboards, programming (25)
  • Chris Stapleton – vocals (26)
  • Mark Foster – background vocals (27)
  • Thomas Bartlett – keyboards, synthesizer (28)
  • Espen Lind – bass (29)
  • Freddy Holm – dobro, guitar, keyboards (29)
  • Torstein Lofthus – drums (29)
  • Amund Bjørklund – keyboards (29)
  • Bobby Hawk – strings (30)


  • Randy Merrillmastering
  • Serban Gheneamixing (1–21, 24, 25, 27, 29, 30)
  • Jonathan Low – mixing, recording (22, 23, 25, 28, 30); engineering (23, 28)
  • Bryce Bordone – mix engineering (1–9, 11–21, 24, 25, 27), mixing assistance (10, 29)
  • Derek Garten – engineering, editing (1, 2, 4–7, 9, 12, 15–17, 20, 21); vocal engineering (22)
  • John Hanes – engineering (10, 29)
  • Ian Gold – engineering (11, 13)
  • Aaron Dessner – engineering (23, 28), recording (22, 23)
  • Bella Blasko – engineering, recording (23, 28)
  • Will Maclellan – engineering (23, 28)
  • Cole Kamen-Green – engineering (24, 27)
  • David Hart – engineering (24, 27, 30)
  • Evan Smith – engineering (24, 27, 30)
  • Jack Antonoff – engineering, recording (24, 27, 30)
  • John Rooney – engineering, engineering assistance (24, 27, 30)
  • Laura Sisk – engineering, recording (24, 27, 30)
  • Michael Riddleberger – engineering (24, 27, 30)
  • Mikey Freedom Hart – engineering (24, 27, 30)
  • Sean Hutchinson – engineering (24, 27, 30)
  • Jon Gautier – engineering (30)
  • David Payne – recording (1, 2, 5, 7, 16, 20, 21)
  • Aaron Sterling – recording (3, 18)
  • Andy Thompson – recording (3, 18)
  • John Mark Nelson – recording (3, 18)
  • Sara Mulford – recording (3, 18)
  • Jacknife Lee – recording (10)
  • Matt Bishop – recording, editing (10)
  • Travis Ference – recording, additional engineering (12, 15, 17); editing (15)
  • Butch Walker – recording (14)
  • Justin Derrico – recording (15), additional engineering (12, 15, 17)
  • Miles Hanson – recording (18)
  • Elvira Anderfjärd – recording (19)
  • Jeremy Murphy – recording (22, 28)
  • Espen Lind – recording (29)
  • Mike Hartung – recording (29)
  • Christopher Rowe – vocal engineering
  • Sam Holland – vocal engineering (4, 8)
  • Robert Sellens – vocal engineering (14, 28)
  • Tony Berg – vocal production (23)
  • Austin Brown – editing, engineering assistance (1, 2, 5, 7, 9, 16, 20, 21)
  • Dan Burns – additional engineering (1, 2, 4, 5, 7–9, 16, 20, 21)
  • Paul Mirkovich – additional engineering (12, 15, 17)
  • Pete Amato – additional engineering (15)
  • Daniel Ficca – additional engineering (18)
  • Josh Kaufman – additional engineering (26)
  • Jeff Fitzpatrick – engineering assistance (17)
  • Jon Sher – engineering assistance (24, 27, 30)
  • Lauren Marquez – engineering assistance (24, 27, 30)
  • Michael Fahey – engineering assistance (26)


Certifications and sales

Certification for Red (Taylor’s Version)
RegionCertificationCertified units/sales
New Zealand (RMNZ)[161]Gold7,500double-dagger
United Kingdom (BPI)[162]Gold100,000double-dagger
United States621,000[note 8]

double-dagger Sales+streaming figures based on certification alone.

Release history

Release dates and formats for Red (Taylor’s Version)
VariousNovember 12, 2021StandardRepublic[164]
JapanNovember 13, 2021DeluxeCDUniversal Music Japan[165]
BrazilDecember 31, 2021StandardUniversal Music Brasil[166]

See also


  1. ^ On November 29, 2021, Billboard reported that „Message in a Bottle“ is the „current radio single“ in the US from Swift, but did not mention an exact date on which the song officially impacted the radio stations.[1]
  2. ^ Not to be confused with the Walt Disney Company. Shamrock is a private corporation founded by Roy E. Disney as the Disney family’s investment firm. The family completely owns Shamrock and remains its sole investor.
  3. ^ Swift self-wrote „All Too Well“ in 2010 as the first song for Red,[34] after which she contacted Rose to help her condense the song to 10 minutes.[35] The final version of „All Too Well“ that made to the 2012 album was only five and a half minutes long, but still the longest song on the record.[36]
  4. ^ Fearless (Taylor’s Version) has also been nominated alongside Red (Taylor’s Version) in the category, giving Swift two simultaneous nominations for the same award.
  5. ^ Chart performance of „State of Grace (Acoustic Version) (Taylor’s Version)“ and „All Too Well (10 Minute Version)“ are combined with „State of Grace (Taylor’s Version)“ and „All Too Well (Taylor’s Version)“, respectively; hence these 4 songs appear as 2 song entries on Billboard charts.
  6. ^ a b 30, the fourth studio album by English singer Adele, surpassed the first-week tally of Red (Taylor’s Version) and garnered the biggest sales week of 2021 in the US and the UK.[96][97]
  7. ^ Such as Domino’s, Kansas City Chiefs, M&M’s, Olive Garden, Oreo, Panera Bread, Skittles, Sour Patch Kids, Starbucks, and Taco Bell.
  8. ^ US pure sales as of January 2022[101]


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Cited literature


Veröffentlichungen von Taylor Swift die im OTRS erhältlich sind/waren:

Folklore ¦ Evermore ¦ Fearless (Taylor’s Version) ¦ 1989 ¦ Red (Taylor’s Version) ¦ Lover ¦ Reputation

Taylor Swift auf Wikipedia (oder andere Quellen):

Taylor Swift (2019)

Taylor Alison Swift (* 13. Dezember 1989 in Reading, Pennsylvania) ist eine US-amerikanische Pop- und Country-Sängerin, Gitarristin, Songwriterin, Musikproduzentin und Schauspielerin. Sie hat weltweit laut IFPI 252,5 Millionen Tonträger verkauft (Stand: November 2021) und gehört damit zu den weltweit erfolgreichsten Künstlern.[1]


Swift wurde am 13. Dezember 1989 in Reading, Pennsylvania in eine Familie der oberen Mittelschicht aus Wyomissing geboren.[2] Ihre Mutter Andrea Gardner Finlay war zunächst leitende Angestellte im Marketingbereich und später Hausfrau. Ihr Vater Scott Kingsley Swift ist Vermögensberater bei Merrill Lynch.[3] Ihr jüngerer Bruder ist der Schauspieler Austin Swift. Swifts Eltern betrieben eine Weihnachtsbaumschule.[4] Ihre Großmutter mütterlicherseits – Marjorie Finlay – war Opernsängerin und inspirierte Swift schon in ihrer frühen musikalischen Karriere.[5][6] Swift widmete ihr in ihrem neunten Studioalbum – evermore – das Lied marjorie. Im vorherigen Album folklore sang sie in epiphany unter anderem über die Kriegstraumen ihres Großvaters Dean, welcher im Zweiten Weltkrieg im Kampf gegen Japan eingesetzt worden ist. Taylor Swift wurde nach dem US-amerikanischen Musiker James Taylor benannt, mit welchem sie schon vor ihrem Erfolg gemeinsam musizierte.[7] Zudem ist sie eine Christin.[8]

Swift besuchte den Kindergarten und die Vorschule der Alvernia Montessori School, bis sie zur The Wyndcroft School in Pottstown wechselte.[9] Als ihre Familie in eine Vorstadt von Wyomissing zog, ging Swift zur Wyomissing Area Junior/Senior High School.[10] Später jedoch zog ihre Familie nach Hendersonville in Tennessee, wo sie die Hendersonville High School besuchte.

Swift hörte in ihrer Kindheit besonders Country-Musik von Künstlerinnen wie LeAnn Rimes, Patsy Cline, Dolly Parton, den Dixie Chicks und Shania Twain. Im Alter von neun Jahren nahm sie an Musik- und Gesangsunterrichtsstunden in New York City teil. Mit zehn Jahren begann Swift an Karaokewettbewerben teilzunehmen und bei Festivals und Messen als Sängerin aufzutreten. Dafür schrieb sie bereits eigene Songs. Mit elf Jahren versuchte sie, in Nashville bei verschiedenen Plattenlabels einen Vertrag zu erhalten. Mit 12 Jahren lernte sie, Gitarre zu spielen.[11] Mit 14 Jahren wurde sie bei einem Auftritt im Bluebird Café von Scott Borchetta entdeckt, der sie für sein neues Plattenlabel Big Machine Records verpflichtete. 2010 war Swift nach den Dreharbeiten von Valentinstag für einige Monate mit Taylor Lautner liiert.[12] Seit Ende 2016 ist sie mit dem britischen Schauspieler Joe Alwyn liiert.

2022 wird Swift die Ehrendoktorwürde der New York University (NYU) verliehen.[13]


Taylor Swift im Jahr 2012 auf ihrer Tour Speak Now World

2006–2012: Taylor Swift, Fearless, Speak Now und Red – Anfänge mit Country

Swift als Opening Act auf einem Konzert von Brad Paisley im Jahr 2007.

2006 veröffentlichte Swift ihre Debütsingle Tim McGraw, die Platz sechs in den amerikanischen Country-Charts erreichte.[14] Ihr Debütalbum Taylor Swift wurde im Oktober desselben Jahres veröffentlicht und belegte Platz fünf der Billboard 200. Es wurde von der RIAA mit Fünffach-Platin ausgezeichnet. Aus dem Album erreichten vier Singles die Top Ten der US-Country-Charts; in den Billboard Hot 100 kamen drei der Singles in die Top 40. Alle Songs auf diesem Album hat Swift entweder selbst geschrieben oder sie wurden von ihr mitverfasst.

Im November 2008 veröffentlichte sie ihr zweites Album Fearless, das die Albumcharts mit Unterbrechungen elf Wochen lang anführte;[15] kein anderes Album seit dem Jahr 2000 konnte diesen Spitzenplatz länger behaupten, und es war in den Vereinigten Staaten das meistverkaufte Album des Jahres 2009.[16] Anfang Februar 2009 wurde die Single Love Story aus dem Album Fearless mit rund 2,7 Millionen Einheiten zum Country-Song mit den meisten bezahlten Downloads.[17] Im September 2009 konnte ihr Titel You Belong with Me den ersten Platz der Country-Charts erreichen. 2010 gewann sie den People’s Choice Award in der Kategorie Beste Künstlerin.[18] Bei den Grammy Awards 2010 erhielt sie vier Auszeichnungen. Im Februar 2010 führte ihre Fearless Tour durch fünf Städte Australiens, bei der die Country-Band Gloriana im Vorprogramm auftrat.[19]

Swifts drittes Album Speak Now, das im Oktober 2010 veröffentlicht wurde, verkaufte sich in den USA innerhalb der ersten Woche mehr als eine Million Mal. Die Songs des Albums entstanden in Arkansas, New York City, Boston und Nashville und wurden von ihr selbst geschrieben. Als Co-Produzent trat Nathan Chapman auf, der bereits an Swifts ersten beiden Alben mitgewirkt hatte. Die erste Singleauskopplung des Albums war Mine; es folgten Back to December, Mean, The Story of Us, Sparks Fly und Ours. Für Mean wurde sie mit zwei Grammys ausgezeichnet.[20]

Swift auf ihrer The Red Tour im Jahr 2013

Ihr viertes Studioalbum Red erschien im Oktober 2012 und wurde von Nathan Chapman produziert. Die erste Single aus diesem Album war We Are Never Ever Getting Back Together, die zum ersten Nummer-eins-Hit für Swift in den USA wurde.[21] Als zweite Single wurde Begin Again veröffentlicht. Die dritte Single I Knew You Were Trouble konnte sich in Deutschland in den Top 10 platzieren, in Großbritannien und in den USA erreichte sie Platz zwei. Die Single verkaufte sich in den USA mehr als drei Millionen Mal.[22] Als vierte Singleauskopplung folgte 22. Das Album verkaufte sich mehr als sechs Millionen Mal. Swift, die 2011 mit Einnahmen von über 35 Millionen US-Dollar weltweit die kommerziell erfolgreichste Musikerin war,[23] spielt eine akustische Westerngitarre der kalifornischen Firma Taylor Guitars aus dem Holz der Koa-Akazie.[24]

2014–2019: 1989, Reputation und Lover – Wechsel zur Popmusik

Swift auf ihrer The 1989 World Tour, der weltweit umsatzstärksten Tour des Jahres 2015

Im Oktober 2014 veröffentlichte Universal Music ihr fünftes Studioalbum mit dem Titel 1989, das sie unter anderem zusammen mit Max Martin, Shellback, Ryan Tedder, Jack Antonoff, Nathan Chapman, Imogen Heap und Greg Kurstin wieder bei Big Machine Records produziert hat.[25] Der Name des Albums bezieht sich auf Swifts Geburtsjahr. Mit dem Album wendete sich die Sängerin erstmals von Country in Richtung Pop. Einen ersten Ausblick auf die neue Stilrichtung des Albums gab sie im August 2014 mit der Veröffentlichung der Single Shake It Off und im Rahmen eines Live-Streaming-Events aus New York City und der Veröffentlichung des Musikvideos zur Single. Diese wurde zu Swifts zweitem US-Nummer-eins-Hit[26] Die zweite Single Blank Space wurde im November als Musikdownload und in Deutschland im Januar 2015 als CD veröffentlicht; es gelang der Künstlerin zum dritten Mal der Sprung an die Spitze der US-amerikanischen Charts. Als weitere Singles des Albums wurden im Februar Style, im Mai Bad Blood und im August Wildest Dreams ausgekoppelt. Bad Blood avancierte dabei in einer zusammen mit Rapper Kendrick Lamar vorgetragenen Version zu Swifts viertem Nummer-eins-Hit. Im Januar 2016 wurde Out of the Woods und im Februar New Romantics als Single ausgekoppelt.

Ihr sechstes Studioalbum Reputation erschien im November 2017.[27] Die erste Singleauskopplung Look What You Made Me Do wurde vorab im August 2017 veröffentlicht und stieg in die Top 10 der deutschen, österreichischen und Schweizer Singlecharts ein. In den britischen Singlecharts und in den Billboard Hot 100 gelang ihr mit diesem Song ein Nummer-eins-Erfolg. Als zweite Auskopplung folgte …Ready for It? Swift fungierte zusammen mit Jack Antonoff, Max Martin und Shellback als Produzentin. In dem Song End Game kollaborierte sie mit dem Rapper Future und dem Sänger Ed Sheeran.[28]

Swift auf ihrer Reputation Stadium Tour im Jahr 2018

Auf der Tour zu ihrem sechstem Studioalbum Reputation, der Reputation Stadium Tour, spielte sie 345,5 Millionen US-Dollar ein und hatte während ihrer 53 Shows 2,88 Millionen Zuschauer. Die Tour erzielte den Rekord für die höchsten Einnahmen einer US-Tour.[29]

Nachdem Swift ME! (feat. Brendon Urie) als erste Vorab-Singleauskopplung vom ihrem siebten Studioalbum Lover im April 2019 veröffentlichte, zeigte sie mit der zweiten Vorab-Singleauskopplung You Need to Calm Down ihre Unterstützung für die LGBT-Community. Das Lied wurde dazu passend während des Pride-Monats veröffentlicht. In dem Musikvideo traten Prominente wie Katy Perry, Ellen DeGeneres und Adam Lambert auf.[30] Das zugehörige Studioalbum – veröffentlicht durch Republic Records – erschien nach der Veröffentlichung der Promo-Singleauskopplung The Archer und der dritten Vorab-Singleauskopplung Lover im August 2019. Nach der Veröffentlichung des Albums wurde The Man als vierte und vorerst letzte Singleauskopplung im Frühjahr 2020 veröffentlicht. Im zugehörigen Musikvideo spielte Swift die im Lied beschriebene Identität Swifts als Mann.

2020: Folklore und Evermore – Neuausrichtung zu Indie und Folk

Wegen der COVID-19-Pandemie wurden Swifts Auftritte in den Vereinigten Staaten und Brasilien bis 2021 verschoben.[31] Im Mai 2020 wurden Aufnahmen von ihrem City-of-Lover-Konzert aus dem Jahr 2019 auf ABC ausgestrahlt. Sie veröffentlichte auch die Liveversionen der Lover-Lieder, die sie bei diesem Konzert gesungen hatte.[32] Im Juni 2020 wirkte sie bei YouTubes Livestream Dear Class of 2020 mit.[33][34]

Im Juli 2020 erschien ihr achtes Studioalbum Folklore.[35] Damit und mit der Single Cardigan ist sie die erste Künstlerin, die in derselben Woche auf Rang eins der Billboard 200 und der Hot 100 einsteigen konnte.[36] Im März 2021 gewann sie mit Folklore die Auszeichnung Album of the Year an den Grammy Awards.[37]

Im Dezember 2020 erschien mit Evermore ihr neuntes Studioalbum. Ebenso wie beim Vorgängeralbum hat sie alle Songs während der Covid-19-Pandemie in Selbstisolation geschrieben. Bereits zum zweiten Mal gelang es ihr, mit einem Album und einer Single gleichzeitig auf Platz 1 der US-Charts zu debütieren; der Song Willow positionierte sich ebenso wie das Album umgehend an der Chartspitze.[38]

Seit 2021: Neueinspielung von zwei Alben

Im April 2021 veröffentlichte sie eine Neueinspielung ihres Albums Fearless (mit dem Zusatz Taylor’s Version), um auf diese Weise die kommerzielle Verfügungsgewalt über ihre Kompositionen zurückzugewinnen. Die „perfekt wirkende Eins-zu-eins-Kopie“ bezeichnet Andreas Borcholte deshalb als einen „Akt der künstlerischen Selbstermächtigung“.[39]

Red (Taylor’s Version) wurde im November 2021 mit 30 Songs veröffentlicht. Zusammen mit der überarbeiteten Version des Liedes All Too Well konnte Swift erneut zeitgleich in derselben Woche mit einem Song und einem Album an der Spitze der US-Charts einsteigen.


Swift hat sich bei ihrem Album 1989 nicht nur die Rechte an den Titeln und an der Musik schützen lassen, sondern auch an einzelnen Textzeilen. Wer die Textstücke „This sick beat“, „Party like it’s 1989“ oder „Nice to meet you. Where you been?“ ohne ihre Einwilligung verwendet, kann von ihr verklagt werden.[40][41] Die Band Peculate kritisierte dies als direkten „Angriff auf die freie Rede“ und nahm einen Song mit dem Titel This Sick Beat auf, dessen Text „auch einzig und allein aus der von Taylor Swift geschützten Phrase besteht“.[41]

Im Juli 2019 kaufte Scooter Braun das Musiklabel Big Machine Records, das alle Alben von Taylor Swift besitzt. The Wall Street Journal schätzte den Verkaufspreis auf 300 Millionen US-Dollar. Swift bezeichnete ihn als „Tyrann“ und diese Situation als ihren „schlimmsten Albtraum“. Sie möchte die Rechte an ihrer Musik selbst erwerben und bereut es, mit 15 den Vertrag mit Big Machine Records unterschrieben zu haben.[42] Finanziert hatte den Kauf die Carlyle Group. Im April 2021 verkaufte Braun seine Ithaca Holding für fast 1 Mrd. US$ an die Big Hit America Inc., eine Tochter der Hybe Corporation.[43]

Konflikt mit Apple

Im Juni 2015 veranlasste Swift die Firma Apple, die Bezahlung von Künstlern zu überdenken und großzügiger zu gestalten. Apple hatte geplant, im Rahmen seines neuen Streamingdienstes Apple Music den Nutzern drei kostenlose Probemonate zu gewähren, wobei die Künstler leer ausgehen sollten. Indem sie sich weigerte, Apple ihr Album 1989 zur Verfügung zu stellen, bewirkte Swift ein Umdenken. Apple wird zwar die Titel weiterhin kostenfrei anbieten, die Künstler nun jedoch finanziell entschädigen.[44]


Swift hat von Beginn ihrer Karriere an für ihr musikalisches Werk meist positive Kritiken erhalten.[45] In der New York Times wurden ihr bereits 2008 gute Liedermacherqualitäten bei fehlender Naivität attestiert.[46] 2020 wurde nach der Première beim Sundance Festival auf Netflix die Dokumentation Taylor Swift: Miss Americana (Miss Americana) veröffentlicht.[47]

Politische Position

Vom Rechtspopulisten Milo Yiannopoulos und anderen Vertretern der Alt-Rights wurde Swift als Ikone verehrt. Andre Anglin, Autor des Nazi-Blogs The Daily Stormer, bezeichnete die Sängerin als „reine arische Göttin“. Swift hat keine direkte Stellung bezogen, sondern lediglich versucht die Beiträge löschen zu lassen. Daher wurde ihr damals vorgeworfen, sich nicht von Neonazis zu distanzieren.[48][49][50] In einem Interview mit der Zeitschrift Time hat Swift (damals 22-jährig) ihre Zurückhaltung in Sachen Politik damit begründet, dass sie andere Menschen nicht beeinflussen wolle, so lange sie noch nicht genug wisse, um den Leuten zu sagen, wen sie wählen sollen.[51] Zudem fürchtete Swift durch politisches Engagement in ähnliche Situationen wie die US-amerikanische Country-Band The Chicks im Frühjahr 2003 zu gelangen, als sich ein Band-Mitglied darüber äußerte, beschämt zu sein, weil der US-amerikanische Präsident (damals George W. Bush) ebenfalls aus Texas komme.[52] Daraufhin erhielt die Band scharfe Kritik und wurde von zahlreichen Menschen der US-amerikanischen Bevölkerung boykottiert.

Im Oktober 2018 gab Swift ihre Unterstützung für die Kandidaten der demokratischen Partei bei der Kongresswahl bekannt.[53] Im Mai 2020 warf Swift Donald Trump vor, den Todesfall George Floyd durch seinen Rassismus mitverschuldet zu haben und die daraus entstandenen Konflikte zu befeuern.[54] In der US-Wahl 2008 warb Swift für die Every Woman Counts-Kampagne, welche das politische Engagement von Frauen stärken sollte.[55] Zudem unterstützte sie die Time’s Up-Bewegung gegen sexuellen Missbrauch. Doch auch in ihren Liedern verbreitet Swift feministische Werte: Mit ihrem Lied The Man kritisiert sie die Rollenbilder der jeweiligen Geschlechter, indem sie darüber singt wie es wäre, ein Mann zu sein.

„I’d be a fearless leader, I’d be an alpha type, When everyone believes ya, What’s that like?“

„Ich würde ein furchtloser Anführer sein, Ich wäre der Alpha-Typ, Wenn dir alle glauben, Wie ist das?“

Taylor Swift: The Man (Lover)

In champagne problems aus dem Album evermore bestärkt sie ihre Kritik, unter anderem mit den Versen „ ‚She would’ve made such a lovely bride, what a shame she’s fucked in her head‘, they said“ („ ‚Sie wäre so eine schöne Braut gewesen. Eine Schande, dass sie nicht ganz richtig im Kopf ist‘, sagten sie“). Dabei geht sie auf die schlechte Nachrede anderer ein, nachdem die Protagonistin des Liedes – wider traditioneller Erwartungen – eine Ehe ablehnt.[56] the last great american dynasty handelt erneut über eine weibliche Protagonistin (genauer Rebekah Harkness), welche zu Unrecht dafür negativ verurteilt worden sein soll, Freude zu haben und sich gegen gesellschaftliche Erwartungen (von ihr als Frau) zu verhalten. Nach der Veröffentlichung des Liedes All Too Well (10 Minute Version) (Taylor’s Version) [From The Vault], verkaufte Taylor Swift Schlüsselanhänger mit der Aufschrift „F*ck The Patriarchy“ („Fick das Patriarchat“), einem Ausruf aus der zweiten Strophe des Liedes.[57] In einem Interview im britischen Magazin The Guardian bekennte Swift sich Pro-Choice.[58]

Mit You Need To Calm Down spricht sich Swift deutlich für die LGBTQIA+-Community aus. In der zweiten Strophe weist sie durch „Why are you mad when you could be GLAAD?“ („Weshalb bist du sauer, wenn du fröhlich sein könntest?“) auf die US-amerikanische Non-Profit-Organisation GLAAD hin, an welche sie zuvor einen Geldbetrag spendete.[59] GLAAD setzt sich öffentlich gegen Diskriminierung aufgrund von Geschlechtsidentität und sexueller Orientierung ein. Zudem spendete sie am 8. April 2019 113.000 US-Dollar an das pro-LGBTQIA+ Tennessee Equality Project.[60] Während der Black-Lives-Matter-Bewegung spendete Swift Geld an die Organisation NAACP Legal Defense and Educational Fund, Inc., welche sich für afroamerikanische Menschen einsetzt.[61]


Swift bei den American Music Awards im Jahr 2019

Der Rolling Stone listete sie 2015 auf Rang 97 der 100 besten Songwriter aller Zeiten.[62] Sie hat seit 2007 mehr als 50 Auszeichnungen insbesondere im Country-Bereich erhalten. Dazu zählen unter anderem die Country Music Association Awards, die CMT Music Awards und die Academy of Country Music Awards, bei denen sie mehrfach ausgezeichnet wurde.

Weitere Auszeichnungen erhielt sie bei den BMI Awards, den American Music Awards, den Teen Choice Awards, den People’s Choice Awards, den Emmy Awards und den Billboard Music Awards. 2015 gewann sie insgesamt acht der 40 zu vergebenden Billboard Awards.[63] Bei den People’s Choice Awards gewann ihr Song Only the Young (von der Dokumentation Miss Americana) in der Kategorie The Soundtrack Song of 2020.[64]

Von MTV wurde sie sechsmal mit dem Video Music Award und dreimal mit dem Europe Music Awards ausgezeichnet. Bei den Grammy Awards erhielt sie bislang elf Auszeichnungen:

Billboard Music Awards

Grammy Awards

MTV Video Music Awards

  • 2009: in der Kategorie Best Female Video für You Belong with Me
  • 2013: in der Kategorie Best Female Video für I Knew You Were Trouble
  • 2015: in der Kategorie Video of the Year für Bad Blood (feat. Kendrick Lamar)
  • 2015: in der Kategorie Best Female Video für Blank Space
  • 2015: in der Kategorie Best Pop Video für Blank Space
  • 2015: in der Kategorie Best Collaboration für Bad Blood (feat. Kendrick Lamar)

MTV Europe Music Awards

  • 2012: in der Kategorie Best Live Act für die Speak Now World Tour
  • 2012: in der Kategorie Best Female
  • 2012: in der Kategorie Best Look
  • 2015: in der Kategorie Best Song für Bad Blood (feat. Kendrick Lamar)
  • 2015: in der Kategorie Best US Act
  • 2019: in der Kategorie Best Video für ME!
  • 2019: in der Kategorie Best US Act

Weitere Ehrungen

Im April 2022 wurde mit Nannaria swiftae ein Tausendfüßler nach ihr benannt.[65]


Taylor Swift im Jahr 2009 auf der Première von Hannah Montana – Der Film


Swifts Les Paul-Gitarre und Mikrofon im Musical Instrument Museum


Höchstplatzierung, Gesamtwochen, AuszeichnungChartplatzierungenChartplatzierungenTemplate:Charttabelle/Wartung/ohne Quellen
(Jahr, Titel, Musiklabel, Plat­zie­rungen, Wo­chen, Aus­zeich­nungen, Anmer­kungen)
Anmerkungen[↑]: gemeinsam behandelt mit vorhergehendem Eintrag;
[←]: in beiden Charts platziert
 DE AT CH UK US Coun­try
2006Taylor Swift
Big Machine Records

(3 Wo.)UK

(275 Wo.)US
(179 Wo.)Coun­try
Erstveröffentlichung: 24. Oktober 2006
Verkäufe: + 7.750.000[66]
Big Machine Records

(16 Wo.)DE

(19 Wo.)AT
(13 Wo.)CH

(64 Wo.)UK

(261 Wo.)US
(290 Wo.)Coun­try
Erstveröffentlichung: 11. November 2008
Verkäufe: + 12.064.500
Fearless (Taylor’s Version)
Republic Records[DE: ↑][AT: ↑][CH: ↑]

(9 Wo.)UK
(47 Wo.)US[Coun­try: ↑]
Neueinspielung: 9. April 2021
Verkäufe: + 980.000[67]
2010Speak Now
Big Machine Records
(4 Wo.)DE
(4 Wo.)AT
(7 Wo.)CH

(9 Wo.)UK

(152 Wo.)US
(… Wo.)Template:Charttabelle/Wartung/vorläufig/2010Coun­try
Erstveröffentlichung: 25. Oktober 2010
Verkäufe: + 6.872.500
Big Machine Records

(… Wo.)Template:Charttabelle/Wartung/vorläufig/2012DE
(… Wo.)Template:Charttabelle/Wartung/vorläufig/2012AT
(32 Wo.)CH

(85 Wo.)UK

(185 Wo.)US
(322 Wo.)Coun­try
Erstveröffentlichung: 22. Oktober 2012
Verkäufe: + 9.053.000
Red (Taylor’s Version)
Republic Records[DE: ↑][AT: ↑][CH: ↑]

(… Wo.)Template:Charttabelle/Wartung/vorläufig/2012UK
(… Wo.)Template:Charttabelle/Wartung/vorläufig/2012US[Coun­try: ↑]
Neueinspielung: 12. November 2021
Verkäufe: + 1.140.000[67]
Big Machine Records

(60 Wo.)DE

(62 Wo.)AT

(53 Wo.)CH

(… Wo.)Template:Charttabelle/Wartung/vorläufig/2014UK

(… Wo.)Template:Charttabelle/Wartung/vorläufig/2014US
Erstveröffentlichung: 27. Oktober 2014
Verkäufe: + 12.703.000
Big Machine Records
(25 Wo.)DE

(17 Wo.)AT
(11 Wo.)CH

(64 Wo.)UK

(… Wo.)Template:Charttabelle/Wartung/vorläufig/2017US
Erstveröffentlichung: 10. November 2017
Verkäufe: + 4.500.000[68]
Republic Records
(19 Wo.)DE
(24 Wo.)AT
(16 Wo.)CH

(… Wo.)Template:Charttabelle/Wartung/vorläufig/2019UK

(… Wo.)Template:Charttabelle/Wartung/vorläufig/2019US
Erstveröffentlichung: 23. August 2019
Verkäufe: + 3.200.000[69]
Republic Records
(31 Wo.)DE
(19 Wo.)AT
(22 Wo.)CH

(… Wo.)Template:Charttabelle/Wartung/vorläufig/2020UK

(… Wo.)Template:Charttabelle/Wartung/vorläufig/2020US
Erstveröffentlichung: 24. Juli 2020
Verkäufe: + 1.990.000[70]
Republic Records
(20 Wo.)DE
(13 Wo.)AT
(16 Wo.)CH

(68 Wo.)UK
(… Wo.)Template:Charttabelle/Wartung/vorläufig/2020US
Erstveröffentlichung: 11. Dezember 2020
Verkäufe: + 867.000
1 Fearless erreichte erst nach Veröffentlichung von Fearless (Taylor’s Version) 2021 die Höchstplatzierung in Deutschland, Österreich und der Schweiz. Zur Erscheinungszeit belegte es Platz zwölf, 14 bzw. 35.
2 Red erreichte erst nach Veröffentlichung von Red (Taylor’s Version) 2021 die Höchstplatzierung in der Schweiz. Zur Erscheinungszeit belegte es Platz neun.



Commons: Taylor Swift – Sammlung von Bildern, Videos und Audiodateien


  1. Taylor Swift named IFPI Global Recording Artist of 2014. International Federation of the Phonographic Industry, 23. Februar 2015, abgerufen am 28. September 2015 (englisch).
  2. Cutter; Kimberley: Taylor Swift’s Rise to America’s Sweetheart. In: Marie Claire. 2. Juni 2010, abgerufen am 7. Februar 2014.
  3. Cohen, Erica: Taylor Swift’s father is a Blue Hen. In: UDaily. 23. September 2009, abgerufen am 7. Februar 2014.
  4. Lizzie Widdicombe: „You Belong With Me“. In: The New Yorker, 10. Oktober 2011. Abgerufen am 11. Oktober 2011. 
  5. Taylor Swift: Biography. In: TV Guide. Abgerufen am 16. Oktober 2011.
  6. Taylor Swift song ‘Marjorie’ is a tribute to her late grandmother. 11. Dezember 2020, abgerufen am 31. März 2022 (englisch).
  7. Walter Scott: What Famous Pop Star Is Named After James Taylor? 11. Juni 2015, abgerufen am 31. März 2022 (englisch).
  8. RELEVANT: Taylor Swift on Politicians Co-opting Faith: ‚I’m a Christian. That’s Not What We Stand For‘. In: RELEVANT. 31. Januar 2020, abgerufen am 31. März 2022 (amerikanisches Englisch).
  9. Taylor Swift: Growing into superstardom. 1. April 2012, abgerufen am 31. März 2022.
  10. Taylor Swift Returns to Reading Pennsylvania as Maid of Honor in Friend’s Wedding | NBC 10 Philadelphia. 16. September 2016, abgerufen am 31. März 2022.
  11. http://www.nydailynews.com/entertainment/music/computer-tech-taught-taylor-swift-guitar-exclusive-article-1.2072638
  12. Taylor Swift noch immer in Taylor Lautner verliebt?! In: starflash.de. 15. Oktober 2010, abgerufen am 6. Mai 2017.
  13. Taylor Swift erhält Ehrendoktortitel der New York University. Abgerufen am 1. April 2022.
  14. Artist Chart History: Taylor Swift - Tim McGraw. In: Billboard. Abgerufen am 24. Januar 2010.
  15. Taylor Swift Continues Billboard 200 Dominance. In: Billboard. Abgerufen am 30. Januar 2010.
  16. Taylor Swift Edges Susan Boyle For 2009’s Top-Selling Album. In: Billboard. Abgerufen am 30. Januar 2010.
  17. Week Ending Feb. 8, 2009: Shady’s Back (Tell A Friend). In: Yahoo Music Blog (von Paul Grein). 11. Februar 2009. Abgerufen am 14. Februar 2010.
  18. 36th People’s Choice Awards - Favorite Female Artist. In: CBS. Abgerufen am 31. Januar 2010.
  19. Fearless Tour 2010. In: Ticketk.com. Abgerufen am 31. Januar 2010.
  20. Monica Herrera: Taylor Swift Announces New Album ‚Speak Now,‘ Out Oct. 25. Billboard. 20. Juli 2010. Abgerufen am 22. Juli 2010.
  21. Chuck Dauphin: Taylor Swift Announces ‚Red‘ Album, New Single. Billboard.com. 13. August 2012. Archiviert vom Original am 16. August 2012. Abgerufen am 16. August 2012.
  22. RIAA – Gold & Platinum – Searchable Database. Abgerufen am 16. Mai 2015.
  23. Billboard: Top Money Makers Music
  24. Taylorguitars.com. Taylorguitars.com. Abgerufen am 7. Februar 2010.
  25. 1989 bei TaylorSwift.com. taylorswift.com. Archiviert vom Original am 10. Dezember 2012.  Info: Der Archivlink wurde automatisch eingesetzt und noch nicht geprüft. Bitte prüfe Original- und Archivlink gemäß Anleitung und entferne dann diesen Hinweis.@1@2Vorlage:Webachiv/IABot/taylorswift.com Abgerufen am 16. Januar 2015.
  26. Shake It Off bei Universal-Music.de. universal-music.de. Abgerufen am 18. Januar 2015.
  27. Joe Lynch: Taylor Swift Reveals New Album ‚Reputation‘ Coming In Nov., First Single Out Thursday. In: Billboard. 23. August 2016, abgerufen am 7. September 2017.
  28. Taylor Swift Shares ‚Reputation‘ Tracklist, Confirms Ed Sheeran & Future Collab. In: Billboard. (billboard.com [abgerufen am 10. November 2017]).
  29. Taylor Swift’s Reputation Stadium Tour highest grossing in US history. In: The Music Network. 2. Dezember 2018, abgerufen am 8. April 2019.
  30. https://www.vip.de/cms/taylor-swift-you-need-to-calm-down-musikvideo-mit-mega-starauflauf-4357195.html
  31. Daniel Kreps: Taylor Swift Cancels All 2020 Tour Dates Due to Coronavirus. In: Rolling Stone. 17. April 2020, abgerufen am 12. Juni 2020 (amerikanisches Englisch).
  32. Madison Bloom: Listen to Taylor Swift’s City of Lover Film Soundtrack. Abgerufen am 12. Juni 2020 (amerikanisches Englisch).
  33. Denise Petski: YouTube Reschedules Virtual Commencement Ceremony With The Obamas, Beyoncé Due To George Floyd Memorial Service – Watch. In: Deadline. 7. Juni 2020, abgerufen am 12. Juni 2020 (englisch).
  34. Denise Petski: YouTube Reschedules Virtual Commencement Ceremony With The Obamas, Beyoncé Due To George Floyd Memorial Service – Watch. In: Deadline. 7. Juni 2020, abgerufen am 12. Juni 2020 (englisch).
  35. GMA: Taylor Swift announces new album, ‚Folklore,‘ debuts tonight. 23. Juli 2020, abgerufen am 23. Juli 2020 (englisch).
  36. Taylor Swift bricht den Billboard-Rekord. 4. August 2020, abgerufen am 5. August 2020.
  37. Winners & Nominees. Abgerufen am 15. April 2021 (englisch).
  38. Taylor Swift kündigt zweites neues Album in diesem Jahr an auf spiegel.de, abgerufen am 11. Dezember 2020.
  39. https://www.spiegel.de/kultur/musik/fearless-taylor-s-version-von-taylor-swift-nochmal-18-sein-so-geht-s-a-c62bce55-3d1d-43df-bd68-98173d22b7d6
  40. Markenrecht für Textzeilen: Patentierte Worthülsen. taz.de, 2. Februar 2015, abgerufen am 6. Februar 2015.
  41. a b Kai Leichtlein: Metal-Band wehrt sich gegen Taylor Swift. Protestsong gegen Swift. Metal Hammer, 3. Februar 2015, abgerufen am 6. Februar 2015.
  42. https://www.bloomberg.com/news/articles/2019-06-30/scooter-braun-s-ithaca-holdings-acquires-big-machine-label-group
  43. https://pulsenews.co.kr/view.php?year=2021&no=323221
  44. Benjamin Schulz: Kritik an Streaming-Dienst: Taylor Swift zwingt Apple in die Knie. In: Spiegel Online. 22. Juni 2015, abgerufen am 29. Juni 2015.
  45. Chang, Bee-Shyuan: Taylor Swift Gets Some Mud on Her Boots. In: New York Times. 15. März 2013, abgerufen am 7. Februar 2014.
  46. Caramanica, Jon: Sounds of Swagger and Sob Stories. In: New York Times. 19. Dezember 2008, abgerufen am 7. Februar 2014.
  47. Destacados TV: Los 10 mejores documentales de cantantes: Billie Eilish, Taylor Swift y más. In: Destacados TV Revista. 13. März 2021, abgerufen am 28. Mai 2021 (mexikanisches Spanisch).
  48. Kanthak, Benjamin: Wie Neonazis Taylor Swift zu ihrer Ikone machen. (Nicht mehr online verfügbar.) In: Bayerischer Rundfunk, Puls, Filter. 30. August 2017, archiviert vom Original am 12. März 2018;.
  49. Parry, Hannah: Taylor Swift hailed as ‚Aryan goddess‘ by white supremacist groups in their bizarre claims she is a secret ‚Nazi‘. In: Daily Mail. 26. Mai 2016, abgerufen am 26. November 2017.
  50. Andrews, Travis M.: ‘Alt-right’ white supremacists have chosen Taylor Swift as their ‘Aryan goddess’ icon, through no fault of her own. In: Washington Post. 25. Mai 2016, abgerufen am 26. November 2017.
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  52. Taylor Swift: ‚I was literally about to break‘. Abgerufen am 29. März 2022.
  53. Taylor Swift äußert sich erstmals politisch. In: Frankfurter Allgemeine Zeitung. 8. Oktober 2018, abgerufen am 9. Oktober 2018.
  54. edition.cnn.com: „Taylor Swift calls out Trump over late-night Minnesota tweet: ‚You have the nerve to feign moral superiority before threatening violence?‘ “
  55. Every Woman Counts: Funny Taylor Swift Interview Before 2008 ACM Awards. Abgerufen am 29. März 2022.
  56. champagne problems lyrics - genius.com. Abgerufen am 29. März 2022.
  57. All Too Well Lyric Keychain. Abgerufen am 31. März 2022 (englisch).
  58. Taylor Swift: ‚I was literally about to break‘. Abgerufen am 29. März 2022.
  59. Taylor Swift Makes Generous Donation. GLAAD, 1. Juni 2019, abgerufen am 29. März 2022.
  60. Taylor Swift Donates Tennessee Equality. Abgerufen am 29. März 2022.
  61. Taylor Swift About Black Lives Matter. Abgerufen am 30. März 2022.
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  63. merkur.de: Taylor Swift herausragende Siegerin der Billboard Awards, abgerufen am 19. Mai 2015
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  65. Taylor Swift: Forscher Derek Hennen benennt Tausendfüßer nach US-Sängerin. In: Der Spiegel. 19. April 2022, ISSN 2195-1349 (spiegel.de [abgerufen am 19. April 2022]).
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  68. Weltweite Verkäufe von Reputation 2017 Auf ifpi.org, 2018, Englisch. Abgerufen am 31. Mai 2018 (Offline).
  69. Global top albums of 2019. (Nicht mehr online verfügbar.) In: ifpi.org. Ehemals im Original; abgerufen am 2. April 2020 (englisch).@1@2Vorlage:Toter Link/www.ifpi.org (Seite nicht mehr abrufbar, Suche in Webarchiven)
  70. IFPI issues Global Music Report 2021. (PDF) In: ifpi.org. 23. März 2021, abgerufen am 8. April 2021 (englisch).


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Same album, but different version(s)...

Taylor Swift ¦ Red (Taylor’s Version)
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