Taylor Swift has shared an acoustic live performance of ‘All Too Well (10 Minute Version) (Taylor’s Version)’.

The extended take on Swift’s 2012 track features on the recently released ‘Red (Taylor’s Version)’, the latest in her ongoing series of re-recorded albums. It was accompanied by the All Too Well short film, which was written and directed by Swift.

During the premiere of the Sadie Sink and Dylan O’Brien-starring visuals, the singer debuted the 10-minute version of ‘All Too Well’ live at the AMC 13 Lincoln Square cinema in Manhattan, New York.

Swift has now released an official recording of “the first ever performance” of the song, which took place in front of 400 fans. “We recorded the acoustic performance so now we can all experience it together,” the star wrote on social media.

You can listen to the track here.

The first ever performance of All Too Well (10 min version) was at the AMC 13 theater in front of 400 fans. We recorded the acoustic performance so now we can all experience it together ? It’s available here https://t.co/H55gVedcRh pic.twitter.com/ntDSDI9tYV

— Taylor Swift (@taylorswift13) November 15, 2021

Swift performed the 10-minute version of ‘All Too Well’ on last weekend’s Saturday Night Live, where she also joined Pete Davidson in a sketch about “three sad virgins”.

Taylor Swift has made Spotify history with ‘Red (Taylor’s Version)’, racking up the biggest number of first-day streams by a female artist in history. Songs from the record were played online 90.8million times in the first 24 hours of their release.

Yesterday (November 15) Swift shared the official video for ‘I Bet You Think About Me’. Co-written and directed by Blake Lively, the clip stars Whiplash actor Miles Teller, whose character is confronted by an ex (played by Swift) on his wedding day.

In a four-star review of ‘Red (Taylor’s Version)’, NME wrote: “The vocals offer the most significant change, with Swift’s voice maturing significantly in the intervening decade. . You hear it clearest on the spoken-word moments, like ‘We Are Never Ever Getting Back Together’s withering put-down: “With some indie record that’s much cooler than mine“.

“It’s the sort of eye-roll moment typical of being a young adult, and while delivered with vim in its creation, in these moments the shifts in Swift’s lyricism and vocals in the 10 years since it was first released are obvious. It’s one of the only recognisable differences to the album’s original.”