Kendrick Lamar's Super Bowl Halftime Show: Playing the Game and Questioning It

Kendrick Lamar's Super Bowl LIX performance played with the Red, White, and Blue Colour palate.

I have always found Kendrick Lamar to be one of the most compelling artists of our time. It is not just his lyricism, though that alone places him in a league of his own. It is his ability to construct entire narratives—layered, conceptual, and deeply intentional—not just through his music but through the medium of performance itself. Lamar doesn’t just rap; he stages, choreographs, and frames moments in ways that demand attention, interpretation, and, most importantly, reflection. That is why I was looking forward to his Super Bowl LIX performance. I knew that whatever he gave us, it would not be an empty spectacle. It would be something to chew on, something to sit with long after the lights dimmed. And, of course, he did not disappoint.

From the moment Samuel L. Jackson’s voice boomed across the stadium, declaring this “the Great American game,” I knew Lamar was setting the stage for something beyond the expected. The Super Bowl is a spectacle, a carefully curated display of entertainment and patriotism, and Lamar was about to use that very stage to critique the institution that hosted him. This was not just a performance; it was a moment of controlled storytelling, a balancing act between participation and subversion.

A Performance for the Screen, Not Just the Stadium

One of the most striking elements of Lamar’s set was how it played with perception—particularly through camera work. Unlike other halftime performances that feed off the roar of a stadium, its delivery was a controlled, deliberate moment, designed not just for the live audience but for those of us watching at home, where the real power of the performance unfolded. For example, the setup for the song Peekaboo, with its sharp cut circular camera angles, was a masterful play on reveal and conceal, reinforcing the idea that every shot, every moment, felt deliberately framed rather than spontaneous. Lamar understood that this was a performance for the camera, not just for those in attendance.

Which makes the way he ended the performance even more powerful. After building up momentum with songs like Squabble Up, HUMBLE., and Not Like Us, he chose to conclude not with fireworks and a bang, but with a command: "Turn this TV off." Considering this was the Super Bowl halftime show—with an entire half of the game still to go—Lamar’s choice was anything but arbitrary. Performing TV Off last was a deliberate move, a final instruction to disengage. He knew that many tuning in were not here for football; they were here for him. And with that closing line, the message was clear: I’m done. You can go now.

“Playing the Game” While Critiquing It

Kendrick Lamar’s relationship with the Super Bowl halftime stage is complicated. Historically, the NFL has been hesitant, if not outright resistant to hip-hop, only fully embracing the genre in recent years. When Lamar performed as part of Dr. Dre’s 2022 halftime show, it was a watershed moment: hip-hop was not just included, it was centered. And yet, Lamar has never been an artist to simply accept a platform without interrogating it. His performance at this year's Super Bowl was a deliberate mimicry of the system that allowed it to exist, turning the usual expectations on their head.

Enter Uncle Sam. Or rather, Uncle Samuel L. Jackson. Hollywood’s perennial voice of authority became the conduit through which America was forced to critique itself. As Jackson’s narration layered over Lamar’s set, it was both a guiding hand and a restriction. He scolded Lamar, telling him that his performance was too ghetto, that this was not what America wanted. And with that, the show shifted. The moment demanded something more palatable, something that would appease the image-conscious gatekeepers of mainstream entertainment.

Cue SZA. As she joined Lamar for two songs, Luther and All the Stars, this moment took on an interesting duality. All the Stars’ title itself plays with meaning—it evokes the American flag, with its stars and stripes, but also recalls Black Panther, the film that arguably represents the most widely embraced and commercially successful intersection of Black culture and Hollywood. Uncle Sam’s voice—symbolizing institutional approval—welcomed this moment. It was as if Lamar had momentarily found alignment between cultural expression and mainstream validation.

And then came the power play.

Lamar finally delivered what we had been waiting for: Not Like Us, which he had teased earlier in the show. It was the moment the entire set had been building toward—both commercially satisfying and culturally charged. Since the track had just won a Grammy a week before, it was already cemented as a commercial success, but in this setting, it became something more. It was a triumphant, defiant statement—one that satisfied multiple audiences while still making it clear that Lamar was in full control of the moment.



Scrolling through social media in the aftermath of Lamar’s performance, it is clear that his artistry has sparked a flood of dialogue, critique, and reflection. His ability to create conversation, whether through visual cues, “Easter eggs,” or bold cultural references, is one of the hallmarks of his work. Take, for example, his diamond-encrusted lowercase ‘a’ chain, a nod to the iconic A minor lyric in Not Like Us, which echoed through the Super Bowl crowd as they sang along. Or the inclusion of Serena Williams, crip-walking during Not Like Us, a visual moment that left fans abuzz with speculation. It is moments like these—small but deliberate gestures—that ignite conversations and give fans a chance to engage with the performance on a deeper level.

Lamar doesn’t just perform; he creates space for interpretation and debate. As an artist, he challenges his audience to unpack meaning, engage in discourse, and reflect on the significance of each carefully placed detail. Being part of that conversation, offering my own reflections on what was an undeniably powerful performance, is part of the excitement Lamar generates, an excitement that continues to unfold long after the stage lights dim.