Taylor Swift’s road to fame
”I love turning on pop radio and hearing my song,” allows Taylor Swift, the 18-year-old country music sensation. ”But,” she adds, mindful of her base, ”I don’t look at it as crossover as much as spillover.”
Her cup definitely runneth over. In 2007, Swift’s debut album was one of the top 10 all-genre SoundScan sellers. And all those sales came in while a lot of non-country-lovers had yet to hear of her…or, if they had, were still asking, ”Taylor Swift? Who’s he?” She’s harder to escape now: Besides several smash hits at country radio, she’s moved into the upper levels of the Top 40 format with a remix of her heartbreak ballad ”Teardrops on My Guitar.” (In recent years, only Carrie Underwood, with ”Before He Cheats,” has successfully managed that leap.) MTV is even playing it. And since the album has such legs, it’s a good bet to cross the triple-platinum mark, almost unheard of in this era of plunging record sales. She’s got to be the most popular high school senior in America right now. So: teardrops, schmeardrops… Did being 18 ever suck any less?
But she wasn’t always the belle of the ball, personally or professionally; those rejection anthems she’s so adept at writing weren’t penned purely as fiction. We profiled the rising siren in this week’s issue of EW. But for this exclusive EW.com bonus feature, we also talked with some of the people who were with her on the way up, including her mother, manager, and label president, to find out some of the strategizing that went into achieving one of the last year’s few true musical success stories.
The chipmunk years. ”When I was 10, or younger than that, even, I would watch these biographies on Faith Hill or the Dixie Chicks or Shania Twain or LeAnn Rimes, and the thing I kept hearing was that they had to go to Nashville,” Swift remembers. She talked her parents into letting her fly out for a visit. ”I took my demo CDs of karaoke songs, where I sound like a chipmunk — it’s pretty awesome — and my mom waited in the car with my little brother while I knocked on doors up and down Music Row. I would say, ‘Hi, I’m Taylor. I’m 11; I want a record deal. Call me.”’ They didn’t. (But you have to wonder how many of the folks who answered those doors suddenly flashed back to that moment when they saw a grown-up Swift screaming over her Best New Artist nod at the Grammy nominations press conference.)
Rather than discouraging her, that rejection was like rocket fuel. It dawned on her that karaoke-style singing wasn’t going to cut it at any age; she needed to become a full-fledged guitar-picking singer/songwriter. ”She came back from that trip to Nashville and realized she needed to be different, and part of that would be to learn the guitar,” says her mother, Andrea Swift. Earlier, she had tried picking up an acoustic guitar and had no interest in it, but things had changed. ”Now, at 12, she saw a 12-string guitar and thought it was the coolest thing. And of course we immediately said, ‘Oh no, absolutely not, your fingers are too small — not till you’re much older will you be able to play the 12-string guitar.’ Well, that was all it took. Don’t ever say never or can’t do to Taylor. She started playing it four hours a day — six on the weekends. She would get calluses on her fingers and they would crack and bleed, and we would tape them up and she’d just keep on playing. That’s all she played, till a couple of years later, which was the first time she ever picked up a six-string guitar. And when she did, it was like, wow, this is really easy!”
She started writing, too. Two of the songs she’d recorded (”The Outside,” on her debut album, and ”Christmas Must Mean Something More,” from a Target-exclusive Christmas EP she released) were written when she was 12. When she went back to Nashville with her own songs in tow, people took notice: At 13, she signed a development deal with RCA Records, working with that label’s Joe Galante and Renee Bell, a couple of legendary figures in town. But when the deal came up for renewal after a year, she opted out, because she felt she’d have to record outside material if she got to the point of cutting her debut — and at 14, she was already married to the idea of only recording material she had a hand in writing. Not coincidentally, at 14, she became the youngest person ever signed to the major songwriting company in Nashville, Sony/ATV Publishing.
NEXT PAGE: Taking chances
Nashville acceptance, hometown alienation. Swift started to feel cut off from some of her friends, since she was writing songs while they were either playing soccer or partying. ”A lot of people ask me, how did you have the courage to walk up to record labels when you were 12 or 13 and jump right into the music industry? It’s because I knew I could never feel the kind of rejection that I felt in middle school. Because in the music industry, if they’re gonna say no to you, at least they’re gonna be polite about it.” (Being unusually tall for her age, or any age — she’s now 5’11”, without her cowboy boot heels — may have made her more of a junior high outcast.)
Now that she had publishing and recording deals in hand, she convinced her parents, when she was in the eighth grade, that it was time to move where the action is. ”I was from a small town, and nobody really expects you to leave, especially before you graduate. That doesn’t happen. I actually went back a couple months ago and played a sold-out show in my hometown, and it was amazing; ever since all this stuff started happening, the people in Pennsylvania have been the most supportive people I’ve ever known. But I wouldn’t change a thing about growing up and not exactly fitting in. If I had been popular, I probably wouldn’t have wanted to leave.”
The Swifts never pushed their daughter toward a music career, and the family uprooted itself from the Christmas-tree farm where they lived only after it was clear that her stockbroker dad could do his job just as effectively down South. ”I never wanted to make that move about her ‘making it,”’ says her mom, Andrea. ”Because what a horrible thing if it hadn’t happened, for her to carry that kind of guilt or pressure around. And we moved far enough outside Nashville [to nearby Hendersonville] to where she didn’t have to be going to school with producers’ kids and label presidents’ kids and be reminded constantly that she was struggling to make it. We’ve always told her that this is not about putting food on our table or making our dreams come true. There would always be an escape hatch into normal life if she decided this wasn’t something she had to pursue. And of course that’s like saying to her, ‘If you want to stop breathing, that’s cool.”’
After getting out of her RCA deal, Swift found a believer in Scott Borchetta, who was then a big cheese at the Universal label group. ”I thought, ‘Oh, awesome, I’m gonna get to deal with Universal!’ I get this call a couple of weeks later, after I do this showcase and Scott’s on board and everything’s rocking. He goes, ‘I have good news and bad news. The good news is I want to sign you, and the bad news is I’m not gonna be with Universal Records anymore.’ Because he was leaving to start up this whole new record label.” She took a chance and went with what would become a new powerhouse indie label, Big Machine, figuring that at least she’d get more individual attention there. ”They only had 10 employees at the record label to start out with, so when they were releasing my first single, my mom and I came in to help stuff the CD singles into envelopes to send to radio. We sat out on the floor and did it because there wasn’t furniture at the label yet.”
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