Shazam Outage Map

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Shazam Issues Reports

Latest outage, problems and issue reports in social media:

• 
  Garfman (@GarfeldoAlfredo) reported 2 seconds ago

  @raingod09790030 Shazam was during the broken DCEU, not the DCU that has been solid. Go cry about it.

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  Recovery Simp (@recovery_simp) reported 56 seconds ago

  COSOMA’s Blank Media Levy A THREAD 1/ Everybody is arguing about COSOMA payouts, but most people don’t even know what the Blank Media Levy actually is. Some think it’s government tax. Some think it’s Spotify money. Some think COSOMA just wakes up and chooses who to pay. None of that is true. So let’s break it down. 2/ Imagine you make a song. Thousands of people save it on their phones, laptops, memory cards and flash drives. Even if they don’t sell your music, they’re still making copies of it. Now imagine trying to ask every single person to pay you. Impossible, right? 3/ That’s why copyright law created the Blank Media Levy. Instead of chasing millions of people who copy music for personal use, a small levy is collected whenever devices that can store copyrighted content are imported into Malawi. That money goes into one big pool for creators. 4/ The devices include: • Phones • Laptops • Tablets • Flash drives • Hard drives • Memory cards • CDs & DVDs Basically, anything people use to store music, movies or books. 5/ So who collects this money? MRA. Think of MRA as the cashier. When importers bring these products into Malawi, MRA collects the Blank Media Levy together with other applicable charges. It then remits the money to COSOMA. MRA doesn’t decide who gets paid. 6/ Now COSOMA has one big pot of money. Thousands of musicians, filmmakers, writers and other creators are waiting for a share. So… How does COSOMA decide who gets what? 7/ Most people think it’s based on popularity. It isn’t. COSOMA isn’t supposed to ask: “Who’s the biggest artist?” It’s supposed to ask: “Whose copyrighted work was used the most according to the data available?” 8/ Think of two students. One is the most popular kid in school. The other has perfect attendance. Those aren’t always the same person. Royalties work the same way. Popularity and measured usage are not always the same thing. 9/ So how does COSOMA measure usage? Through a monitoring system. Think of it like a football referee. The referee doesn’t guess who scored. He keeps score throughout the game. 10/ Radio stations and TV stations keep playlists and broadcast logs showing every song they play. COSOMA collects that information and uses it to estimate how often songs were broadcast. The more qualifying plays your music gets, the bigger your potential share. 11/ Many copyright societies around the world also use music recognition technology (similar to Shazam) to automatically identify songs played on radio and TV. COSOMA has said it uses monitoring and broadcast data, although it hasn’t publicly explained every technical detail of its system. 12/ Imagine the monitoring results look like this: Artist A — 1,000 plays Artist B — 700 plays Artist C — 300 plays If royalties are shared using that data, Artist A gets a bigger slice than Artist C. Simple. 13/ Now here’s where the debate begins. People ask: “What about churches?” “What about weddings?” “What about crusades?” “What about minibuses blasting gospel all day?” If those uses aren’t captured in the monitoring data, they may not significantly affect the payout. 14/ People ask the same questions about: • YouTube • Spotify • TikTok • Facebook Those don’t automatically count towards Blank Media Levy distributions because they involve different rights and different royalty systems. 15/ This is why an artist can have millions of views… Fill stadiums… Trend every week… …and still receive a royalty payment that surprises everyone. Because popularity isn’t automatically the same as documented copyright use. 16/ So why do some artists receive millions while others receive much less? Generally because of: • More qualifying radio & TV airplay • More licensed public performances • Proper registration of their works • Their ownership share of the copyright Not simply because they’re more famous.

• 
  littledaisy 🌼 (@hanniedontcare) reported 5 minutes ago

  I was just thinking about this now.. it was so unfair. we got less time to prepare for nonexistent, super poorly organized Back To Life promotion. practically zero promotion outside twitter, broken links, the song was stolen across streaming platforms, shazam got hijacked, MV + release announce last minutes and BTL hit streaming a month later. we were on our own while other fbs got weeks to prep. we could've done so much more with an early heads up. we could've easily debuted with over 1M streams if jyp wasnt so ****** 😭😭😭

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  Canyons. (@CanhNguyenSuy) reported 5 minutes ago

  @PsychoJX The cover of the issue is kinda misleading bruh 😭🙏 Superman isn't aura farming here. He got his *** beaten by King Shazam so bad instead

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  Joubin (@Joubinparsapour) reported 6 minutes ago

  @NadrGo2 @BistThunder @drewmacwwe23 *Justice League* was not profitable; it was a financial loss. However, the studio pressed on because other films were highly profitable—*Shazam!* is a prime example: while its gross revenue appeared low, its profit margin was acceptable. Unfortunately, management issues arose,

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  Al Berto (@AlbertoMRamirez) reported 7 minutes ago

  @TheCinesthetic I don’t think it’s a disaster of a movie. I really like so much of it, that it overshadows the issues the film does have. But it’s def not a horrible or even bad movie. I mean the first one is better. But WW84 is better than Quantumania, Fantastic Four, Shazam 2, The Marvels,etc

• 
  penis (@penis7977055683) reported 8 minutes ago

  i once insulted someone’s music taste then when they played music like two months later it was so good, but the problem is i can’t tell them that.. so i installed shazam and stole them myself #independent

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  ゴッドファーザー The Godfather (@Igniteoud) reported 8 minutes ago

  The success rate for discovering songs via @Shazam has dropped. Perhaps the algorithm is flawed or there have been many errors recently. Shazam struggles to identify songs, particularly those in the progressive house and dub techno genres. @Apple @AppleMusic

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  Dean (@deanholz13) reported 8 minutes ago

  And here’s the thing, instead pissing money down the drain on Shazam 2, blue beetle, the flash, black Adam and Aquaman 2, they legit should’ve just made JL2&3. The story would be done and then DC could’ve clean rebooted and had a united fanbase open to whatever would’ve been made

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  🍉 Damian Wayne te amo 🍉 (@FandomWasp) reported 9 minutes ago

  @zhang_digiden One could hope, i mean, considering to where we were before (#that Shazam Issue was last year i recall?) Their storyline is actually improving. seems like someone in the writting room aknowledges trying to break their bond is equivalent to burn money.

• 
  Mason mount (@mount4life) reported 15 minutes ago

  @Exchronos @Steveroger3277 Shazam 2 had a weak plot and terrible acting

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  Chris Craddock (@ChrisCraddock5) reported 15 minutes ago

  Reed: Yes, I do. He needed somebody to talk to her and find out what would she say if she was asked about Jeffrey Epstein, and you were the perfect choice. And you went down there and suddenly - Shazam, she’s out.”

• 
  Joseph Mora (@PapiNCali) reported 18 minutes ago

  @TaroPh59854 @MadonnaUltimate That sounds dramatic, but it does not really hold up from a music industry standpoint. Nobody needs an organized scheme to make a record underperform. The market does that all by itself. Streaming, radio callout, playlist retention, repeat listening, TikTok traction, Shazam activity, sales stability, and week-two drops tell the story. If a song connects, it holds. If it does not, no amount of “they are trying to erase her legacy” explains the public not coming back to the track. Madonna’s legacy is not being erased. Her legacy is already written. The issue is that some fans confuse legacy with current demand. She can be the Queen of Pop historically and still have a single that does not perform like a major hit in 2026. Those two things can exist at the same time. And honestly, blaming invisible “people hungry for the Queen title” feels like a distraction from the actual rollout. If the song had smashed, nobody would be talking about conspiracies. They would be posting chart receipts. But when you have label investment, Sabrina Carpenter attached, Coachella-adjacent hype, The Abbey, Grindr promo, listening parties, and still the numbers do not match the noise, that is not a takedown campaign. That is a rollout failing to convert attention into consumption. The music business is not sentimental. It does not care how iconic you are. It cares whether people stream the song again tomorrow. Madonna is not being erased. She is being measured. And that is what some fans cannot handle.

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  Rich Bateman (@richbateman87) reported 20 minutes ago

  @GunntArchive dc movies are doomed because they never learn; the fandom is fractured and they know this but instead of fixing this; they just double down on hating on zack snyder to convince you to support new dc movies it didnt work for black adam, shazam or blue beetle; theyre all idiots

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  onowu(kingmaker) (@soundnerd_) reported 20 minutes ago

  @MrSoundHive I agree I think the best case scenario is working the chorus on socials to see if it gathers any motion. Even radio, just to see if it triggers Shazam at all. No point having a 1M bill, 6 months down the line on a hunch. I won’t have thought that if you didn’t ask