Audiences Can live Without Shazam, but Shazam Can’t live Without an Audience

Of course the primary focus of any media platform or device would be the relationship with its audience and how the user can interact with the product. The beauty of Shazam is in its primary purpose, connecting audiences to information regarding the global powerhouse that is the music medium. Shazam has over “420 million users in 200 countries” (2014,Shazam Entertainment Ltd), each tagging their own choice of songs, connecting to their choice of social medias and platforms and contributing to the global online music community.

shazam stats

The Shazam application is primarily used on hand held devices and is accessible for those over the age of 18 (13 if a parent or guardian agrees to the terms of service). Janey Gordon discusses the extent to which “mobile phones challenge conventional and official sources of information” within The Mobile Phone and the Public Sphere (2007, Gordon, pages 307-319).  Traditional sources of info in regards to the music industry include; magazines, radio shows and television broadcasts. The information once gathered from these traditional sources is now in the palm of our hands, we can simply “touch to shazam” and receive all of the information in regards to an artist we could desire.

The employment of these devices has also allowed a greater sense of community and connectivity amongst audiences via social media, Shazam acting as a dialogic platform (facilitating conversation). Convergence of Shazam and sites such as Facebook and Twitter have further expanded and connected the audience. Users can connect and share content as they desire while retaining ownership (although it has been previously discussed that you grant them and third parties use of this content)

Shazam are now extending the abilities of the audience. Many organisations are now utilising the Shazam function within television advertisements in order to provide the user with bonus content on products through second-screen interaction “Nothing offers engagement like second-screen interaction. And no one offers second screen interaction like Shazam”(2014,Shazam Entertainment Ltd)


Gordon, J (2007), The Mobile Phone and the Public Sphere: Mobile Phone Usage in Three Critical Situations, Convergence 13/3 Pages: 307-319.

Shazam Entertainment Limited,2013 ,Shazam Terms and Conditions, Shazam Entertainment Limited, accessed 1 March 2014, <>

Shazam Entertainment Limited,2013 ,Advertisers, Shazam Entertainment Limited, accessed 2 March 2014,



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