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Kendrick Lamar Just Rewrote the Rules of the Super Bowl Halftime Show

BBG News

When the NFL revealed Kendrick Lamar as the performer for the Super Bowl halftime show in September, both his supporters and detractors questioned whether he had the skills for the task. To those who were skeptical, Lamar seemed too wordy, too politically charged, and too obscure for the pop music stage that usually hosts culturally non-controversial icons singing popular anthems to the cheering crowds. Instead, some advocated for Lil Wayne, a local New Orleans artist who embodies the wild creativity and festive spirit of the city hosting Super Bowl LIX.

Instead, some of Lamar’s fans were concerned that the limited setting of the televised performance might force him to dilute his artistic integrity. The mere act of performing on such a corporate stage was seen as a potential indication of him selling out or abandoning his activist, anti-establishment beliefs. It appeared challenging for Lamar to appease the masses craving for spectacle and his loyal fans yearning for Pulitzer-worthy brilliance at the same time.

In essence, Lamar’s strength lies in his exceptional talent for straddling the fine line between content and impact: conveying tales of American suffering and injustice without appearing didactic; provoking audiences with both lyrics and music while expanding his fan base. On Sunday, this delicate act was clearly demonstrated. Lamar’s Super Bowl performance was unlike any other, as it aimed not to evoke nostalgia or comfort but rather to command focus and active engagement from the audience.

Instead of excelling in group singing, Lamar compensated through storytelling, artistic stage design, and subtle political critique – all while effectively closing the door on his rap feud with Drake permanently. At the start of the performance, he foreshadowed, “The revolution is about to be broadcast,” addressing the audience, “You chose the right era, but the wrong artist.

Lamar’s presentation commenced by focusing intently on an enthusiastic Samuel (played by L. Jackson). Clad in a complete Uncle Sam outfit, he exuberantly waved his arms and declared, “This is the magnificent American spectacle.” Jackson embodied the viewers’ anticipations for a half-time show performer: flair, patriotism, and gratitude for gracing such a prestigious stage.

However, when the camera shifted to Lamar, he was seen in a crouched position, muttering rapidly while enveloped in darkness – not executing a hit, but reciting an unpublished verse from his 2024 album, GNX. Following this, as he moved into the heated “Squabble Up,” Jackson’s Uncle Sam reappeared on stage, visibly displeased. In a tone that echoed his character in Django Unchained, a loyal house slave named Stephen, he shouted, “Too boisterous, too lawless, too ghetto!” adding, “Mr. Lamar, do you truly comprehend the rules of this game?

Lamar refused to acknowledge the criticisms leveled against him. Instead of using his guest verses from popular songs by stars like Beyoncé’s “Freedom” or Taylor Swift’s “Bad Blood,” he chose to primarily rely on material from his lesser-known project, GNX, even including some B-sides. He performed an a capella rendition of “man at the garden” in front of a circle of friends who were finger-snapping and beatboxing, making it seem as if they were freestyling during lunchtime, before moving on to the playful, melancholic “Peekaboo.

In an attempt to connect with a wider audience despite his songs having a somewhat obscure L.A. influence, Lamar relied heavily on a large group of over 80 dancers throughout his 13-minute performance. These dancers, dressed in solid reds, whites, and blues, often represented symbols such as the American flag, Compton gang members, HBCU step teams, or characters from the movie Us. They created dynamic formations that resembled mosh pits, whirlwinds of movement, marches into battle, and protests, mirroring the diversity and complexity of America’s political landscape.

During the performance, Lamar recognized that his dancers were captivating, but he understood the necessity of adding another dimension to maintain audience interest. For many spectators, the intrigue prior to the show revolved around whether he would perform “Not Like Us,” his harsh diss track directed at Drake. This controversial song, with its us-versus-them stance, had garnered widespread support in various communities and won Lamar five Grammy awards last week, including Record of the Year and Song of the Year.

In a surprising turn, “Not Like Us” demonstrated Lamar’s versatility in crafting profound album-length poetry as well as catchy, viral moments suitable for social media platforms like TikTok. The song was so powerful that it led Drake to file a lawsuit against Universal Music Group, their shared label, claiming defamation and potentially casting doubt on Lamar’s legal right to perform the song.

Midway through, Lamar hinted at a potential legal issue: “I’d like to play their favorite song, but they’re known for lawsuits,” he remarked on stage. Then, he shifted into a sensual part of his performance, teaming up with his former labelmate SZA. Jackson’s Uncle Sam commended this segment, describing it as “soothing and relaxed,” reflecting the sentiments of many other uncles in America. In the meantime, Lamar appeared to be addressing the dispute amicably.

Lamar repeatedly demonstrates his petty nature during conflicts over the past year, and he understands that conflict can be a powerful tool for creating hype and driving social media engagement. In an interview with Vanity Fair a few months back, he said, “I do believe in love and war, and I think they both have their place.

In my perspective, diving headfirst into “Not Like Us,” I offer a fresh introduction: “Forty acres and a mule might have been larger than the music they’re talking about, but they couldn’t manufacture influence like this.” Now, if the Caesars Superdome wasn’t quite the homely advantage Lamar enjoyed during his “The Pop Out” concert in Inglewood—where he belted out “Not Like Us” five times consecutively—the crowd still resonated powerfully with the song’s signature lyric: “Strumming a chord and it’s probably an A minor.

Later, Lamar offered two instances that were largely overlooked by the crowd in New Orleans but gained significant traction on social media – a strategic move from Lamar’s team, spearheaded by his long-term partner Dave Free, to target their efforts not towards ticket holders but online viewers. Initially, Lamar fixed his gaze on the camera and flashed a broad, intimidating smile upon mentioning Drake’s name, thereby initiating a popular meme trend.

In another viral instance, Serena Williams added flair to the event by strutting in a “crip walk” fashion as the song’s chorus played. Williams’ presence held multiple significances: she hails from Compton, which is also Drake’s hometown; and there were whispers of a romantic connection between them approximately a decade ago. After the performance, an exhilarated Williams shared on Twitter that she had not performed the “crip walk” at Wimbledon due to potential fines.

Afterwards, Lamar concluded his performance with the grand finale of his latest single “TV Off,” which seems tailor-made for this particular moment: “Strutting in New Orleans with the manners of L.A.,” he rapped. “TV Off” demonstrates Lamar’s remarkable artistic versatility; he isn’t just a serious poet as some might portray him, but has adjusted his style to suit various stages, eras, and audiences throughout his 15-year career. In the era of Soundcloud and blogs, he connected with rap enthusiasts yearning for genre reinvention through “Section.80.” Following the death of Michael Brown, he immersed himself in national consciousness with “To Pimp a Butterfly.” And as the mainstream shifted towards Marvel-like dominance in the late 2010s, Lamar morphed into a pop enthusiast, willingly collaborating with Rihanna and Taylor Swift on top radio hits.

In the fast-moving world of TikTok, there was a concern that an artist like Lamar, who prefers carefulness and thoughtfulness, might be left behind. However, with its strong local appeal, incredible vitality, and meme potential (“MUSTAAARRRRRRd!”), “TV Off” demonstrated that Lamar remains a cultural giant beyond the Drake dispute, and that he’s as culturally and aesthetically significant as he has ever been.

In a subtle political commentary, turning off the TV at the Super Bowl’s end, as suggested by Lamar, served as a call-to-action. He was encouraging viewers not only to consume passively but also to actively engage in determining the course of future events, particularly in cultural and political arenas and beyond.

In its structure, storytelling style, and depth, Kendrick Lamar’s Super Bowl performance was unlike any preceding ones. To some, it was perplexing; to others, it paved the way for what this format could evolve into. It seemed as though he was communicating that just because something is anticipated of you, doesn’t necessarily mean that’s the route you should choose. Perhaps Kendrick, in his own words, truly earned everything.

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2025-02-10 09:07

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