Kendrick Lamar’s Super Bowl LIX halftime performance on February 9, 2025, was an electrifying blend of music, cultural critique, and visual storytelling. Opening with the powerful declaration, “The revolution ’bout to be televised,” Lamar set the tone for a performance that captivated over 120 million viewers and sparked widespread discussion. Held at the Caesars Superdome in New Orleans, the show marked Lamar’s first solo headlining Super Bowl halftime gig. With Donald Trump in attendance and political tensions running high, Lamar delivered a halftime show that was equal parts celebration and confrontation.
During his 13-minute performance, Kendrick Lamar delivered a blend of his extensive discography, including tracks from 2024’s GNX, 2017’s DAMN., and 2012’s good kid, m.A.A.d city1. The setlist included “Squabble Up,” “HUMBLE.,” “DNA.,” “Euphoria,” “Man at the Garden,” “Peekaboo,” “Luther” (with SZA), “All the Stars” (with SZA), “Not Like Us,” and “TV Off”.
The centerpiece of the performance was “Not Like Us,” Lamar’s Grammy-winning diss track aimed at Drake. The song has become a generational anthem, addressing authenticity and cultural appropriation in hip-hop. Lamar strategically teased the track throughout his set before delivering it with dramatic intensity. While he altered one of its most contentious lyrics—replacing “pedophile” with a pre-recorded scream—he allowed the audience to chant the controversial line themselves, creating a moment of collective energy.
The stage design was inspired by “The Great American Game,” incorporating PlayStation controller-like shapes to symbolize competition and gaming culture. At its center stood Lamar’s iconic 1987 Buick Grand National GNX, a nod to his Compton roots and personal resilience. The car served as both a literal and figurative platform for his narrative.
Dancers clad in red, white, and blue tracksuits performed choreography that oscillated between militaristic precision and freeform expression, reflecting the tension between conformity and rebellion. During “HUMBLE.” and “DNA.,” they formed shapes resembling the American flag—a patriotic image reframed as critique. The show concluded with lights spelling out “GAME OVER,” a striking statement that many interpreted as a potent metaphor for rejecting societal gamesmanship and embracing authenticity.
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Samuel L. Jackson’s portrayal of Uncle Sam added a provocative layer to the performance. Acting as a satirical Greek chorus, Jackson taunted Lamar with lines like “Too loud, too reckless, too ghetto,” reflecting societal critiques often leveled at Black artists. After SZA’s duets on “Luther” and “All the Stars,” Jackson mockingly said: “That’s what America wants—nice, calm. You’re almost there—don’t mess this…” Lamar immediately interrupted him by launching into “Not Like Us,” a defiant rejection of conformity.
Trump’s presence at the Super Bowl further heightened the tension surrounding the performance. Although Lamar did not directly address him during the set, his history of anti-Trump sentiments and outspoken support for Black Lives Matter framed the performance as inherently oppositional. The final lights spelling out “GAME OVER” were widely interpreted as both a cultural critique and a declaration of triumph over societal expectations.
Lamar wore a sleek black outfit that contrasted sharply with the vibrant costumes of his dancers, emphasizing his dual role as participant in and critic of “The Great American Game.” SZA joined him on stage for two songs—“Luther” and “All the Stars”—bringing an ethereal energy that balanced Lamar’s intensity. The final song, “TV Off,” featured producer Mustard joining Lamar on stage for an explosive conclusion.
Inside the stadium, fans were electrified by Lamar’s performance, particularly during “Not Like Us.” The audience chanted along with its pointed lyrics, creating an unforgettable moment of unity. Online reactions were more divided—while many praised Lamar for delivering one of hip-hop’s most authentic halftime shows, others questioned whether he leaned too heavily into personal rivalries instead of addressing broader societal themes.
Kendrick Lamar’s halftime show was more than entertainment—it was an artistic statement on identity, resistance, and artistry in modern America. From the choreography, set design, and track choices, to Uncle Sam’s satire, every element felt intentional. As fans succinctly put it on social media: “Never beef with Kendrick.”
While some critics felt it lacked broader political commentary, others praised its unapologetic focus on personal narrative and cultural pride. Many conservative and right-wing commentators called it “trash” also stating that “nobody can even understand what he’s saying,” while Hollywood celebrities such as Ben Stiller stated it was “the best halftime show ever.” With Donald Trump watching from the stands and millions tuning in at home, whether praised or critiqued, Lamar used one of America’s grandest stages to deliver a performance that will be debated for years to come—a moment where music became both celebration and confrontation.
