Kendrick Lamar’s highly anticipated Super Bowl LIX halftime show at Caesar’s Superdome in New Orleans did not disappoint – or maybe it did, depending on who you ask. Breaking viewership records previously held by Michael Jackson’s 1993 performance, Lamar’s set was a spectacle of lyricism, symbolism, and controversy. However, it also ignited heated debates over artistic expression, political messaging, and the limits of a platform as mainstream as the Super Bowl.
The show began in a dark setting. “Start Here” was followed by an arrow that illuminated the stands, mimicking the start screen of a video game. The stage’s setup was divided into four quadrants, as if it were a game controller. Viewers were greeted by Samuel L. Jackson, who portrayed Uncle Sam. He states, “This is the Great American Game.” Uncle Sam is a long-standing representation of the U.S., often representing the federal government, the American people, or the nation itself. This character appears frequently throughout the show and challenges Lamar, providing a crucial thematic value.
After Lamar opens the show with his unreleased song “Bodies,” he states from the hood of a car, “The revolution ‘bout to be televised. You picked the right time, but the wrong guy.” referencing Gil Scott-Heron’s 1971 song, “The Revolution Will Not Be Televised.” This reference is significant due to the nature of the song being a call to action. It demands that people reject passivity and engage in real, meaningful activism. Significant social change often happens outside of mainstream media coverage. Making such a reference on the Super Bowl Halftime stage is incredibly impactful and provides a message that sets the tone for the rest of his performance; Lamar won’t ignore the current state of our country.
Uncle Sam picks at Lamar once again, stating, “too loud, too reckless, too ghetto,” after his performance of “Squabble Up.” Here, he references the assumption that is made of Black Americans and hip hop and calls out the critiques often made. The show then transitions to one of Lamar’s most popular songs, “HUMBLE.” This is ironic because while “Squabble Up” is seen as “ghetto,” songs like “HUMBLE.” are enjoyed by a wide variety of people, alluding to the idea that individuals pick and choose when to interact with Black culture depending on their comfort level. During the song, the dancers and Lamar create a formation representing the American flag, except this flag is split down the middle with Lamar centered. The country seems to be divided now more than ever, and Lamar displays that idea while also performing a song that has brought many together. “That’s what I’m talking about, that’s what America wants, nice and calm,” Uncle Sam says after Lamar brings guest SZA on to sing “Luther” and “All the Stars” — furthering the idea that the previous parts of the performance were “too much” for the general public to see at a performance like the halftime show.
The song that was anticipated the most, once Lamar was announced to be the performer, is undoubtedly “Not Like Us.” The song is a blatant diss which fuels the ongoing feud between Kendrick Lamar and Drake. It also highlights disparities within the Black community and references the exploitation of Black culture. The explosive cultural impact that “Not Like Us” created upon its release was unprecedented. The track amassed 70.9 million official streams upon its first week of being released; it would be hard to turn on the radio or walk outside and not hear a snippet. During the show, Lamar teases the audience on multiple occasions as if he were to perform the song. Eventually, as part of the finale, he performs the hit everyone has been waiting for. He states, “It’s a cultural divide, Imma get it on the floor. Forty acres and a mule, this is bigger than the music. Yeah, they tried to rig the game, but you can’t fake influence.” With this statement, Lamar is referencing the 1865 Sherman’s Field Order No. 15, which redistributed 400,000 acres of land to newly freed Black families in forty-acre segments. The order was rescinded later that same year, and much of the land was returned to its original owners. Lamar uses this statement to highlight the failures and broken promises of the U.S. In conjunction with his disses at Drake in “Not Like Us,” he is calling out Drake and his alleged exploitation of Black culture comparing it to the systematic exploitation of Black people in general—like that of performing on the Super Bowl Halftime Stage and being expected to present in a conformed and comfortable way amidst the current political climate.
Kendrick Lamar’s halftime show, the first time a hip-hop artist solo headlined, was a powerful statement of Black identity, resistance, and artistic dominance. He redefined and paved the way for not only what a halftime show can be but a large public performance, all while unafraid of potential criticisms. In a political climate like the one the country is in today, it is important to address how every aspect of people’s lives is affected in any way that seems fit. This performance sparks conversation, and community engagement. But above all, it poses the question: should entertainment remain neutral?