During the halftime of every Super Bowl, millions of people watch global superstars perform live on national television. Having performed before in the Super Bowl Halftime Show alongside Mary J. Blige, Dr. Dre, Snoop Dogg, and Eminem, Kendrick Lamar got his opportunity to do just that after a thrilling success streak throughout 2024. His infamous rivalry against fellow rapper Drake sent shockwaves across the music scene; the two exchanged eight intense diss tracks, with many deciding that Lamar was the winner. Later that year, he surprise-released his sixth studio album GNX in November to widespread acclaim, with various critics describing it as his victory lap. Following the album’s release, he also announced his Super Bowl LIX halftime show and his upcoming tour, both with R&B singer SZA. As the first solo rap headliner, Lamar’s highly anticipated show was a fierce mix of audiovisual artistry, cultural critiques, and political messaging.

It is the end of the second quarter. The Philadelphia Eagles are up twenty-four points against the Kansas City Chiefs, who haven’t yet scored a single point. As halftime begins, Kendrick Lamar’s performance starts with actor Samuel L. Jackson portraying Uncle Sam, a political cartoon. The set is split into four platforms—a square, a triangle, an X, and a circle—designed to resemble a PlayStation controller. The camera then cuts to Lamar squatting atop a sleek black Buick Grand National Experimental, a nod to his album GNX. Here, he displays his lyrical ability through high-energy renditions of hits such as “Squabble Up,” “Humble,” “DNA,” “Euphoria,” and “Man at the Garden” while dancers donning all red, white, and blue outfits hop out of the car, eventually arranging in a grid-like formation resembling the American flag. After performing “Peekaboo,” he decides to switch to calmer songs like “Luther” and “All the Stars,” both featuring SZA. Finally, Lamar performed “Not Like Us” and “TV Off,” ending the show with a bang.

In his act, Kendrick Lamar intertwined entertainment with cultural and political commentary, using a game-like motif to symbolize the enforcement of taboo industry norms which further humiliates Drake in the process. The show opens up with Samuel L. Jackson, who plays Uncle Sam, a symbol of the United States government. Known as an embodiment of authority, he is the narrator and scorekeeper for what he calls “the great American game,” referring to American football as well as rap culture, both literal and figurative all-American games. Jackson further reinforces this theme by commenting that the show was “too loud, too reckless, [and] too ghetto,” questioning Lamar if he knows “how to play the game.” The video game theme represented by Jackson and the set design serves as a bridge to younger audiences, using familiar imagery to resonate with them. In a Wired interview, Halftime show art director Shelly Rodgers stated that “the

was symbolic, a lot of it is showing his journey, traveling through the American dream.” It also represents a deeper concept of “playing the game” within social structures. Lamar’s performance assesses the expectations, limitations, and manipulation of society, suggesting that people are trapped, maneuvering through a metaphorical game dictated by external rules. Jackson’s portrayal of Uncle Sam strengthens this narrative by implying that the government and the media, as a combined system, enforce the “game” as a means of control. This idea acts as a rebuttal to objections about his music being “too loud,” political, or even “too ghetto” for mainstream audiences; namely, Fox News criticized his 2016 Grammy Awards performance for being “violent” and that “hip-hop has done more damage to African-Americans than racism in recent years.” Fox News’ argument has been used against many black artists and creatives, not just Lamar. Historically, African-Americans have been neglected as much as they were seen as foundations for their respective disciplines. When they become too outspoken, they are met with resistance. At the start of the show, Lamar says: “The revolution’s about to be televised; you picked the right time but the wrong guy.” He references poet and singer Gil Scott-Heron’s song “The Revolution Will Not Be Televised,” a protest song that argues that those interested in revolution will not be successful by doing nothing—or in this case, watching it on television. Lamar also alludes to “the wrong guy” being President Donald Trump, stating that the people picked the right time to start change but chose the wrong person to represent it. Lamar also throws shade at Drake during the show, first with his song “Euphoria,” the first diss track he released in response to Drake. Secondly, before continuing to “Luther,” he adds, “I wanna perform their favorite song [“Not Like Us”], but you know they love to sue.” Lamar hints at Drake’s attempts to press charges on Universal Music Group for defamation, claiming that the record label helped spread a “false narrative” about him by releasing and promoting Lamar’s song “Not Like Us.” While reciting the song, Lamar finally touches on Drake’s sex trafficking and pedophilia allegations with a devious smile on his face, chanting: “Say Drake, I hear you like ‘em young—you better not ever go to cell block one.” Knowing that the millions watching would not immediately pick up the symbolism of the event, Lamar switches to the final song “TV Off,” featuring a surprise cameo from DJ Mustard, who produced the song. He tells the audience to “turn this TV off,” to stop letting the system distract them from the issues that he calls out in his music.

With many still currently processing and breaking down the event, Kendrick Lamar’s Super Bowl LIX Halftime Show was a meticulous statement on control and resistance. He used the global stage to challenge societal expectations and industry norms imposed on black Americans, and to assert his dominance in the rap game. His use of a video game motif, along with Samuel L. Jackson’s role as Uncle Sam, compared the music industry and American society at large to a rigged game, determining who succeeds and who is silenced. Lamar also uses the show to fire direct shots at his critics, making it not just to entertain, but also to think critically and break free from oppression—to reclaim their stake in the “game” of life.