Scooter Braun is offering a rare look into both his personal life and one of the most talked-about controversies of his career.
During a recent appearance on the Second Thought podcast with host Suzy Weiss, the music executive spoke candidly about his relationship with actress Sydney Sweeney while also revisiting the Taylor Swift masters dispute that continues to spark discussion years later.
Although Scooter did not mention Sydney by name during the interview, his comments made it clear that he was referring to the Euphoria star, whom he has reportedly been dating since September 2025.
The pair have largely kept their relationship out of the spotlight despite being photographed together on multiple occasions over the past several months. They have yet to make an official red-carpet debut as a couple, but public sightings and social media appearances have steadily fueled interest in their romance.
Speaking about his partner, Scooter couldn’t hide his admiration.
“I’ve met an extraordinary woman, kind and generous and smart, and real and down to earth, and one of the biggest surprises ever,” he said.
The comments come shortly after Sydney made their relationship Instagram official. The actress shared a collection of photos from Stagecoach Music Festival, including several candid snapshots that showed the couple posing in a photo booth, embracing one another, and enjoying time with friends.
Scooter also revealed that he has been keeping up with the final season of Euphoria, which has dominated online conversation in recent weeks.
When asked about the show, he responded, “I am catching it. I’m biased, I like it. I think there’s been an incredible performance by a certain actress.”
Beyond discussing his current relationship, Scooter also revisited the controversy surrounding Taylor Swift’s master recordings, a dispute that dramatically reshaped public perceptions of him.
The conflict began when Scooter acquired Big Machine Records in a deal reportedly worth $300 million, giving him ownership of the master recordings for Taylor’s first six studio albums. Taylor later publicly criticized the transaction, arguing she had not been given a fair opportunity to purchase the masters herself.
Years later, Taylor successfully reclaimed ownership of her catalog after re-recording much of her early work and ultimately purchasing the masters from the company that acquired them after Scooter’s ownership.
Looking back on the situation, Scooter admitted he remains confused by how events unfolded.
“[I] went from being like, loved and appreciated for over a decade to literally a villain the next night. I don’t want to go into that, but I will say something that will really sum it up that I don’t know if I’ve ever really said: I don’t know Taylor Swift. I think I’ve met her in my life three times. I have never had a substantial conversation with her in my life. I one time got invited to a private party by her. She told me she had the utmost respect for me. I told her I had the most respect for her. You don’t spend $300 million buying a label that she’s on unless you’re excited at the opportunity to work with her. I will never truly understand that situation. To this day, I wish her nothing but the best.”
He continued by addressing what he believes is one of the biggest misconceptions about the public narrative.
“I learned a tremendous amount from it. I chose to grow from it. I’m grateful for it at this point in my life. But I think there’s this big misconception that, like, we knew each other and we had this feud and I managed her for years. And people are usually shocked to find out that I legitimately don’t know her and didn’t have many interactions with her and never really knew her.”
Discussing their limited interactions, Scooter added:
“I think I spoke to her, really, once for like more than two minutes. But it was a very nice conversation. And beyond that, nothing ever. And then the three years prior to us buying Big Machine, she and I had no contact. I think it was two years. The party was like two years earlier or three years earlier, and then never had any contact through the whole thing. So I’m just as confused that this is part of my life as you are. But, but, but I choose to learn and grow from it.”
He also reflected on how the controversy may have changed conversations surrounding artist ownership.
“Labels make bets on artists, and they own the masters and the artists own their publishing. Artists end up selling their publishing whether they need the money or decide they want to sell, and the labels are very, very well-funded so they don’t have to transact the masters. The majority, to this day, of masters are still owned by labels. As confusing as [the situation was] to me, I think what it did bring to light is that artists are going to start wanting to own their masters, and I think you’re seeing artists more and more do that, and I think that’s great.”
Years later, the situation remains one of the most consequential moments in modern music industry history—and one that Scooter says he is still trying to understand.
