The Super Bowl halftime show, once a quaint interlude featuring majorettes, marching bands and university ensembles, has evolved into a cultural phenomenon, a testament to the American penchant for excess and entertainment, even more so when mixed in with the theatre of the sporting area. Imagine, if you will, the FA Cup final having the Saturday headliner from Glastonbury suddenly turn up whilst you're queuing at the gents or scrambling to get a pie and a pint and you've kind of got the idea.
In its nascent stages, it was all about the spectacle of coordination, with performances by the likes of Up with People, bringing forth a wholesome, if forgettable, array of patriotic tunes and choreographed dance routines. One could almost hear the collective sigh of relief from the audience, glad for a moment's respite from the game's tension, especially when you consider that a game of American football is essentially a truncated version of rugby league where they stop play after every tackle just so they can squeeze in an extra 5 minute commercial break.
Fast forward to the '90s, and the halftime show began to flirt with pop culture, introducing a parade of guest stars that ranged from the sublime to the ridiculous. Michael Jackson in 1993, with his moonwalk transcending into mythology, marked a turning point. Here was entertainment that didn't just fill the time; it owned it. Yet, even Jackson's performance, with its militaristic dance routines, had a whiff of the absurd - a surreal blend of pop and pomp.
The new millennium brought with it an era of rock 'n' roll legends, with acts like Aerosmith, U2, and The Rolling Stones channeling the raw energy of their heyday into performances that were more about nostalgia than innovation. U2’s performance post-9/11 was poignant, turning the halftime show into a brief, resonant moment of national reflection, but the question lingered: was this entertainment or a requiem?
Then came the era of controversy and spectacle, with Janet Jackson's infamous wardrobe malfunction in 2004, which turned the halftime show into a talking point for the wrong reasons. Suddenly, the show was not just about the music but about what might go awry. This set a precedent for performances that were less about the artist's musical legacy and more about the potential for scandal or viral moments.
Fast forward to 2025, and we arrive at Kendrick Lamar's much-anticipated performance. Here was a man, the Pulitzer Prize winner, not merely performing but making a statement, perhaps the most politically and culturally charged halftime show since Prince danced in the rain in 2007.
Lamar, atop a vintage GNX car from his latest album, launched into a set that was less about the hits and more about the narrative. His performance was a tapestry of his journey, from Compton's streets to the world stage, with the halftime show serving as a canvas for both celebration and critique of American culture.
He opened with "Squabble Up," a bold choice, eschewing immediate crowd-pleasers for a statement of intent, his dancers forming into the American flag, a visual that was both patriotic and subversive. The inclusion of Samuel L. Jackson as Uncle Sam was a stroke of genius, injecting humor and a sharp critique of American identity into the mix.
Yet, the performance was not without its critics. Some found it too introspective, too dense with symbolism for a crowd expecting a more straightforward pop spectacle. The decision to perform "Not Like Us," his scathing diss track against Drake, during such a high-profile event was bold, but the live censoring of certain lyrics was a nod to the NFL's continuing dance with controversy and control.
Lamar's set was a victory lap, a cultural commentary, and a battle cry all at once, but it lacked the immediate, infectious joy of some past shows. It was more like watching a play unfold, with Lamar as both the protagonist and the critic of the American Dream.
In the end, Kendrick Lamar's halftime show was emblematic of modern America - complex, confrontational, and undeniably talented. It was a performance that invited the audience to think, perhaps more than any halftime show before it, which in itself is a testament to Lamar's artistry.
But was it entertaining? Well, like most things associated with US sport, it depends on whether you came for the game of football, or the game of ideas.