In a spectacle that transcended mere entertainment, Kendrick Lamar took to the Super Bowl halftime stage at the Superdome in New Orleans, delivering a performance rich with cultural and political symbolism. The rapper, known for his razor-sharp lyricism and unflinching social commentary, used his platform to critique systemic oppression, uplift Black resilience, and reinforce his ongoing musical feud with Canadian rapper Drake.
Lamar’s set was introduced by none other than Samuel L. Jackson, dressed as Uncle Sam, a potent and layered symbol. Jackson’s presence, coupled with his history of playing the subservient yet rebellious Stephen in Django Unchained, evoked America’s historical exploitation of Black talent. It was a stark visual cue: a warning, perhaps, for Lamar to conform to the expectations of white America, “play the game,” as it were – or risk the consequences of resistance.
The stage itself told a story. Echoing the aesthetic of Squid Game, it symbolised the ruthless nature of capitalism, where the wealthy thrive at the expense of the struggling masses. The dancers, clad in red, white, and blue, served as a living embodiment of the American flag, a reminder of the nation’s contradictions, freedom for some, oppression for others.
One of the most striking elements was the setting’s resemblance to a prison yard, reinforcing the mass incarceration of Black men in America. As Lamar rapped, his Black performers harmonised in unison, a visual representation of both confinement and resilience, a commentary on the systemic barriers placed before Black individuals while their collective strength endures.
Lamar’s setlist was equally strategic. Performing Squabble Up and DNA, he reinforced themes of self-determination and identity before teasing his Grammy-winning diss track Not Like Us. He initially held back, playfully telling his dancers: “I want to perform their favourite song, but you know they want to sue.” This alluded to Drake’s defamation lawsuit against Universal Music Group, in which he refuted accusations implied in Lamar’s lyrics. When Lamar finally performed Not Like Us, he deliberately omitted the word “pedophiles” replacing it with a scream, yet retained the controversial line about “seeking A minor”a lyric that fuelled widespread speculation about Drake’s alleged misconduct.
Beyond the feud, Lamar used his performance to stand in solidarity with Black women, particularly Serena Williams, who had been disrespected in Drake’s lyrics. The subtext was clear: Black women are to be protected, not degraded.
In a moment of real-world protest, a demonstrator unfurled a combined Palestinian and Sudanese flag on the field during Lamar’s performance. Though the NFL swiftly issued a statement distancing itself from the act, the incident underscored the broader themes of resistance and solidarity that defined the night.
Lamar’s Super Bowl performance was far more than a medley of hits, it was a carefully curated statement, a visual and lyrical critique of the systems that seek to control Black artistry and a defiant reminder that, as he put it, they not like us.
