At her final Los Angeles Eras Tour concert at SoFi Stadium, Swift announced that the song will be released on October 27 – precisely nine years after the original was released.
Taylor Swift is revisiting the year 1989 once again as part of her ongoing “Taylor’s Version” re-recording project. The latest installment in this series focuses on her 2014 album, which boasted three chart-topping singles: “Shake It Off,” “Blank Space,” and “Bad Blood.” The album also features beloved tracks like “Out of the Woods” and “Clean.”
During the last leg of her Eras Tour in the United States at the SoFi Stadium in Los Angeles, Swift took the opportunity to make a special announcement. She revealed that “1989 (Taylor’s Version)” is set for release on October 27th, precisely nine years after the original album’s launch on the same date in 2014. In a playful and somewhat self-deprecating manner, Swift addressed her long-standing commitment to this endeavor and hinted at the album’s impending release. She then turned towards the screen behind her, unveiling the cover art for “1989 (Taylor’s Version).” The artwork features a joyous Swift against a backdrop of a blue sky and birds, paying homage to the original 1989 cover while infusing it with her unique touch.
Before the revelation, Taylor Swift graced the stage donning a series of blue dresses that she hadn’t worn before. These included a blue gown worn as she mesmerizingly performed “Enchanted,” a fresh blue ensemble in line with her Folklore era, and a sparkling cobalt dress during her acoustic set. These carefully chosen attire changes provided subtle clues, suggesting that a significant announcement was on the horizon.
In her “I Can See You” video, featured in Speak Now (Taylor’s Version) which premiered on July 7, Swift dropped hints that 1989 would be her upcoming re-recorded album. Towards the conclusion of the visual, a bridge displayed a sign reading “1′ 9″ 9.9tv.” Additionally, during her recent performance, she surprised the audience by including “I Know Places” in the setlist.
Swift had previously treated her fans to the “Taylor’s Version” of tracks from 1989, unveiling “This Love” in May 2022 after its inclusion in The Summer I Turned Pretty. Following this, she released “Wildest Dreams” in response to its viral popularity on TikTok in September 2021.
Since 2019, Swift has engaged in the process of re-recording albums from her discography that were initially released under the banner of Big Machine Records. This initiative was prompted by the sale of the label by its former proprietor Scott Borchetta to music executive Scooter Braun, known for his management of prominent artists like Justin Bieber, Ariana Grande, and J Balvin. Swift, who had a strained relationship with Braun, articulated her desire to reclaim control over her music’s master recordings through the re-recording endeavor. This decision became necessary as the original masters had become the property of Braun. Up to the present time, she has successfully unveiled “Taylor’s Version” editions of Fearless, Red, and Speak Now, all of which achieved the remarkable feat of debuting at the pinnacle of Billboard’s albums chart. One remarkable outcome was the extended “All Too Well (10 Minute Version)” from Red, which not only secured Swift a Grammy for Best Music Video but also managed to attain Number One status on the charts, despite its substantial duration.
The most recent addition to Swift’s repertoire to receive the “Taylor’s Version” treatment is 1989. During its initial unveiling, Rolling Stone characterized the album as a “reinvention,” marking the pivotal moment when she broke free from her country music roots. Reflecting on those times, Swift recounted in a cover story for Rolling Stone how Borchetta, upon listening to the album, requested, “This is extraordinary – it’s the best album you’ve ever done. Can you just give me three country songs?” Swift’s response, tinged with affection, was a firm, “Love you, mean it, but this is how it’s going to be.” Back then, her artistic mantra was characterized by the absence of a fixed set of rules. In her own words to Rolling Stone, “With this record, I thought, ‘There are no rules to this.’ I don’t need to employ the same musicians, band, producers, or formula. I have the freedom to create any type of record I desire.” Thus, if she maintains this creative ethos and considers the plethora of B-sides, unreleased tracks, and the notable collaborators who graced the 1989 tour, the potential scope of the “Taylor’s Version” of the album becomes boundless.
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