Shazam status: streaming issues and outage reports

Problems in the last 24 hours

The graph below depicts the number of Shazam reports received over the last 24 hours by time of day. When the number of reports exceeds the baseline, represented by the red line, an outage is determined.

Most Reported Problems

The following are the most recent problems reported by Shazam users through our website.

• Errors (75%)
• Buffering (25%)

Live Outage Map

The most recent Shazam outage reports came from the following cities:

City	Problem Type	Report Time
Narbonne	Errors	9 days ago
Poplar	Errors	1 month ago
Katowice	Buffering	2 months ago
Lyon	Errors	2 months ago
Township of Evan	Errors	3 months ago
Orgerus	Playback Issues	4 months ago

Full Outage Map

Community Discussion

Tips? Frustrations? Share them here. Useful comments include a description of the problem, city and postal code.

Beware of "support numbers" or "recovery" accounts that might be posted below. Make sure to report and downvote those comments. Avoid posting your personal information.

Shazam Issues Reports

Latest outage, problems and issue reports in social media:

• 
  ***** Archer 🏹 (@DirtyArcher) reported 8 minutes ago

  @NicholasCraven_ Man i heard a sample like a year ago and tried to Shazam it but my service was *** and til this day I'm still trying to figure out the song lol.

• 
  Richy (@RichyWarbucks) reported 11 minutes ago

  @_JTheChef I Shazam that **** so mfs ain’t gotta turn the music down

• 
  trin🔻🤎 (@lesbian_h8r) reported 12 minutes ago

  @bori___cha oh his shazam issues are ***

• 
  Astro Boy 🚀 (@AstroBoyLA) reported 16 minutes ago

  @WongUpdates @ZacharyLevi dude has terrible acting experience ever since those flop Shazam movies. I swear marvel better not cast this consistent casual

• 
  steg (@danandphiIyaoi) reported 16 minutes ago

  i was literally the only one who caught ******** by alice longyu gao and mr useless by shygirl n that **** was playing 2 the entire theater in nyc cmon guys step up your game get that shazam out write down lyrics in your notes app take a video if u need to and go back later

• 
  Yolophonik (@Yolophonik) reported 16 minutes ago

  Shazam letting me down yet again. Nice.

• 
  Recovery Simp (@recovery_simp) reported 16 minutes ago

  This COSOMA debate made me realize something… A thread 1/ While everyone is arguing about royalty payouts, I’m seeing something different. I’m seeing a system problem. And software problems are meant to be solved. 2/ If artists don’t fully trust how royalties are calculated… If the public doesn’t understand the monitoring system… If people keep asking where the numbers come from… That’s a transparency problem. Transparency is exactly what technology can improve. 3/ Imagine a platform that monitors radio and TV broadcasts in real time. Not guesses. Not spreadsheets passed around. Actual digital monitoring with an auditable trail. 4/ Imagine every song played being automatically detected using audio fingerprinting—similar to how Shazam recognizes music. Every play gets recorded. Every record has a timestamp. Every calculation can be traced. 5/ Now imagine every artist having their own dashboard. “My song played 287 times this month.” “These are the stations.” “These are the broadcasts.” “This is exactly how my royalty was calculated.” No mystery. Just data. 6/ The platform could also allow broadcasters to upload playlists digitally instead of relying only on manual submissions. Everything becomes faster. Everything becomes easier to audit. Everything becomes more transparent. 7/ And why stop there? Churches… Event organizers… Festivals… DJs… Could also submit licensed digital setlists. The more legitimate usage we capture, the fairer the royalty system becomes. 8/ This isn’t just a COSOMA solution. It’s a solution for every collective management organization across Africa that struggles with monitoring, reporting and royalty distribution. That’s a regional software market. 9/ This is the type of software Malawi can build. We don’t always have to import technology. Sometimes we should build the infrastructure ourselves. 10/ That’s why I’m putting this idea out there. I’m looking for partners who believe Malawi can build world-class technology. Investors. Government. COSOMA. Broadcasters. Let’s build it together. 11/ Imagine Malawi becoming the country that develops one of Africa’s most transparent copyright royalty systems. Not because we complained. Because we built the solution. 12/ Sometimes the biggest opportunities don’t come from asking, Why is the system like this? They come from asking, What if I built something better?

• 
  Thinky Crow (@ThinkyCrow) reported 18 minutes ago

  @juicyrosie23 Hulk and Thor have a chance. Thor has canonically beaten Shazam, and Hulk has canonically fought Superman while NOT angry, and Supes admitted it took everything he had to take Hulk down. Stark… a scant possibility if he figures out kryptonite. Cap? Sorry, NO.

• 
  James (@jamescoder12) reported 19 minutes ago

  85% of Google Pixel owners use their phone for the same 5 things every Android phone does. Calls. Texts. Camera. Chrome. Gmail. That's a phone with 15+ exclusive features features Samsung doesn't have, features iPhone doesn't have, features no other Android phone on earth can run being used like a $200 budget phone. Your Pixel answers spam calls for you before you pick up. It identifies every song playing around you on your lock screen, without Shazam, without internet. It erases people from photos. It swaps faces in group shots. It holds your place in customer service queues so you don't have to. Google buried these features behind menus, toggles, and settings nobody opens after setup day. A Pixel product reviewer who's tested 30+ smartphones in 2026 told me: "Pixel isn't the fastest phone. It isn't the most powerful. But it has more genuinely useful exclusive software features than any phone I've tested iPhone included. The problem is Google markets the hardware and forgets to tell anyone about the software." Here are 11 Pixel-exclusive features most owners have never turned on 🧵

• 
  osita (@osita9401) reported 23 minutes ago

  @bekeestitches Shazam was never the problem. People just underestimated him and didn’t understand what he was capable of.

• 
  jose vega (@residentpimp) reported 24 minutes ago

  @mjarbo The VFX were another issue. If they would have removed that whole bus outer space segment that could have dropped the budget probably 30 - 50 million. These movies don't have to be effects heavy. Beetle and Shazam 2 were shot for 59 million less

• 
  uche (@Ando_boy9090) reported 26 minutes ago

  @bigjozzy @tolathebaddest No na no be iPhone u dey use? Scroll down Shazam am

• 
  Recovery Simp (@recovery_simp) reported 31 minutes 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.

• 
  Fluffy ☕ (@Fluffy_tampons) reported 33 minutes ago

  @garaa_arc None of that happened 😭 nobody liked the movie, it was a really bad movie! Like genuinely one of the worse superhero movies I've seen, and the issue was he thought he was too good to face off Shazam so he tried to face off superman...which made no sense and went nowhere

• 
  Mimicinabox (@Mimicinabox) reported 35 minutes ago

  @Black_D_Gamer1 If we applied their logic, shouldn’t Shueisha or the respective authors of the earlier titles (Dragon Ball, JJK, Chainsaw Man, MHA) have issues with the later ones (Toriko, SBtMWY, Call of the Night) because of their very similar designs? But as far as I know, they’re not doing that, right? From what I’ve learned through Googling and from Grok, companies tend to go after designs that clearly infringe their trademarks rather than ones that are merely inspired by them. This applies to both U.S. and Japanese companies. The only case with enough evidence to successfully sue and win was DC v. Fawcett, regarding the similarity between Superman and Captain Marvel (later renamed Shazam after DC acquired the character). It wasn’t just the design; Fawcett’s team had deliberately studied other aspects of Superman (personality, characterization, etc.) to create their own version of “Superman,” only under a different name.

• 
  Julie Hill (@hill_julie75450) reported 36 minutes ago

  @wakeupusa Oh Geez, not another new word. Besides a cheek swab, just pull your pants down and see what you were born with. Shazam you are a female and or shazam you are a male. No one's taking their rights to identify how they want, but you can't negate biological reality.

• 
  Ege (@egyrm) reported 38 minutes ago

  @Shakajaka1234 Charmy has been a part of the HIVE in the issue actually lmao. Which was a misunderstanding by his side. Not that he can not be Shazam, though Bumblebee makes more sense imo.

• 
  Ron Bialkowski (@Zrbialk) reported 39 minutes ago

  @FakeNightskin I am having trouble getting into this title because it's being written for younger readers. I when DC did the time jump and I liked Campbell's writing less on Shazam! less. So I really cannot have an opinion. Just don't trivialize Peter David's Linda Danvers.

• 
  JosMe💯 (@Keepee16) reported 41 minutes ago

  @wrld_of_Grace Shazam is not working, I did it 3 times...

• 
  Jason Quinteros (@JQuinteros63) reported 41 minutes ago

  @BrownBastard90 @sonyabladesbf Comics & games & DCTV was doing fine at the time. Most DCEU movies post-Aquaman 1 were doing terrible and that’s on BVS? What about Shazam or Birds of Prey?

• 
  Joshua Knight (@Jobrin93) reported 45 minutes ago

  @WkndatBurnies @MikeWill_0 That’s the problem you really can’t have Black Adam story without Shazam unfortunately

• 
  meanlene (@Chalene1450) reported 46 minutes ago

  @ClownWorld Most of the service dogs aren’t really necessary. People get the paperwork signed and Shazam! Now you can bring a dog everywhere. It’s crazy. Either they are all allowed or not. It takes away from those that truly have a service dog and need one.

• 
  Canyons. (@CanhNguyenSuy) reported 46 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

• 
  Matt Jarbo (@mjarbo) reported 49 minutes ago

  SUPERGIRL is tracking around $125 million worldwide, below BLUE BEETLE, SHAZAM! FURY OF THE GODS, and 2015’s FANTASTIC FOUR. Audiences clearly rejected it. Which is odd, because it’s not bad. Milly Alcock works, it moves fast, and it’s a decent watch. So what went wrong? The release date hurt, sandwiched between TOY STORY 5 and MINIONS & MONSTERS, but that’s not the whole story. SUPERMAN was huge last year, and her cameo landed fine, yet it didn’t translate into interest. The real issue: people had no reason to care. Maybe MAN OF TOMORROW should’ve come first, build her alongside Superman before a solo film. Instead, DC gave her one cameo and hoped that was enough. It wasn’t. This might be what superhero fatigue actually is, not the genre, but characters audiences were never given a reason to invest in.

• 
  Bibhuti Bora (@bibhutibaibhaav) reported 52 minutes ago

  @YRANACKCALB The huge problem is Shazam is the personality of the both actors. They are really different

• 
  Joubin (@Joubinparsapour) reported 52 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,

• 
  Brian Costello (@BrianRCostello) reported 54 minutes ago

  He was literally doing the job of a studio CEO in trying to make his company’s product better after audiences not being thrilled with it If the film had been scoring better and not in the same range as Shazam 2 and Batgirl in the 60’s, there would have been no issues

• 
  Garfman (@GarfeldoAlfredo) reported 57 minutes ago

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

• 
  Jay Paul (@JayPaul1530) reported 59 minutes ago

  @sonyabladesbf Instead the of making terrible films like Shazam 2, Aquaman 2, Black Adam, etc.

• 
  King Emmanuel (@Obanuell) reported 59 minutes ago

  @bekeestitches Shazam was never the problem. The real issue was everyone underestimating what he could become and how much power he actually carried. They judged the kid instead of understanding the hero.