The NFL announced the musical headliner for Super Bowl LX’s halftime show, and — much to MAGA’s chagrin — it’s not Kid Rock.
Music’s most lucrative spot went to a relevant artist who actually sells albums: Bad Bunny. Letting the Puerto Rican rapper and singer turned global megastar perform 2026’s halftime show gifts right-wing influencers with a fresh conduit for the old grievance that woke culture has permeated every crevice of American culture, especially the Super Bowl.
Their proof: The NFL chose a predominantly Spanish-language artist who is known to wear women’s dresses, who endorsed Kamala Harris in 2024, and who has decried this year’s immigration sweeps. Clearly, this decision was designed to irk them rather than serve Bad Bunny’s millions and millions of fans.
“The NFL is self-destructing year after year,” conservative commentator Benny Johnson wrote on X. He said of Bad Bunny: “Massive Trump hater. Anti-ICE activist. No songs in English.”
Other critics accused the reggaeton artist of flip-flopping, particularly following Bad Bunny’s statements earlier this month that he would not include any mainland U.S. dates on his Debí Tirar Más Fotos world tour out of concern that U.S. Immigration and Customs Enforcement agents might target and detain his fans.
“There were many reasons why I didn’t show up in the U.S., and none of them were out of hate — I’ve performed there many times,” he said to I-D magazine. “But there was the issue of — like, f—ing ICE could be outside [my concert]. And it’s something that we were talking about and very concerned about.”
The artist, whose real name is Benito Antonio Martínez Ocasio, explained his decision to join the long list of Super Bowl halftime notables in a short statement following the NFL’s announcement Sunday.
“What I’m feeling goes beyond myself,” he said. “It’s for those who came before me and ran countless yards so I could come in and score a touchdown … this is for my people, my culture and our history. Ve y dile a tu abuela, que seremos el HALFTIME SHOW DEL SUPER BOWL.”
Bad Bunny in glasses, not a dress.
(Jordan Strauss / Invision / AP)
The year-after-year decision to cast top-ranking pop artists and music legends in the featured Super Bowl halftime spot is hardly a mystery. They are stars that sell or performers that appeal to millions. But that dull reality hasn’t stopped the characterizations that the Bad Bunny decision is a deep state conspiracy, designed to rot American households from the inside out.
“Barack Obama’s best friend Jay-Z runs the Super Bowl selection process through his company Roc Nation which has an exclusive contract with the NFL. This is who chooses the halftime show, the most-watched musical performance in America,” wrote alt-right figure Jack Posobiec.
The NFL in 2019 partnered with rapper Jay Z’s entertainment and sports company, Roc Nation, to produce its Super Bowl halftime shows. The first show under the new partnership featured 2020’s Latin music in performances by Jennifer Lopez and Shakira. Since then the institution’s halftime performances have largely featured hip-hop artists such as Kendrick Lamar, Rihanna and the OG trio of Snoop Dogg, Dr. Dre and Eminem.
Lamar’s 2025 politically charged performance was the source of condemnation from the right. Clad in red, white and blue, his predominantly Black dance crew assembled in an American flag formation. And guest star Samuel L. Jackson, dressed as Uncle Sam, called out the nation’s systemic racism. Lamar had already rankled the right with 2017’s “The Heart Part 4,” where he referred to Trump as a “chump.”
Kendrick Lamar performs during halftime of the NFL Super Bowl 59.
(Frank Franklin II / AP)
It’s one of many moments over the last decade that have galvanized conservative factions around calls to boycott the Super Bowl, or at least publicly bash the event. Beyoncé’s 2016 Super Bowl halftime show was once such flash point, where she performed “Formation” featuring dancers in Black Panther-inspired outfits and paid tribute to the Black Lives Matter movement.
At least those complaints were rooted in a performance that actually happened, as opposed to claims that the NFL was manipulating games for the Kansas City Chiefs to enable tight end Travis Kelce and his then-girlfriend (now fiancée) Taylor Swift to endorse Joe Biden. Sure, totally feasible.
Yet there should be no secret around why the Super Bowl hasn’t featured wildly popular, globally celebrated MAGA-promoting performers: There aren’t any. It’s no wonder Kid Rock and Lee Greenwood always seem to be the entertainment of choice for Trump rallies.
Bad Bunny is the most-streamed male artist on Spotify, running just behind the platform’s most-streamed artist of all time, Swift. As of Sunday, his release “DeBÍ TiRAR MáS FOToS” became the first album of 2025 to surpass 7 billion streams on Spotify. And the 31-year-old artist just finished a sold-out, month-long residency at the José Miguel Agrelot Coliseum in San Juan, Puerto Rico.
Though the Super Bowl is still five months away, those who aren’t among the haters can enjoy an early kick off: Bad Bunny is scheduled to host the new season opener of “SNL” this weekend.
Universal Music Group Chief Executive Lucian Grainge called Drake’s lawsuit over Kendrick Lamar’s hit diss track “Not Like Us” a “farcical” effort that’s “groundless and indeed ridiculous.”
In a declaration letter filed Thursday night in the Southern District of New York, Grainge said that Drake’s accusation that UMG (the parent label firm to both Drake and Lamar) defamed him and damaged his career “makes no sense due to the fact that the company that I run, Universal Music Group N.V., has invested hundreds of millions of dollars in Drake, including longstanding and critical financial support for his recording career, the purchase and ownership of the bulk of his recording catalog, and the purchase of his music publishing rights.”
Drake signed a new deal with UMG label Republic in 2022 for a reported $400 million, and he’s one of the bestselling artists of the last 20 years. Yet Interscope artist Lamar’s scathing “Not Like Us” famously capped a venomous battle between the two artists, which resulted in a pair of Grammy wins for Lamar, who performed the song at the Super Bowl halftime show.
Drake’s attorneys, in discovery, have recently tried to obtain UMG’s contract with Lamar and information about his personal life (Drake accused Lamar of beating his partner in the song “Family Matters”). Drake has accused UMG of both defamation and running a clandestine campaign to boost “Not Like Us” at the expense of his own reputation and career.
A notably exasperated Grainge wrote to the court that “Given my role, I am accustomed (and unfortunately largely resigned) to personal attacks, and I further recognize that a frequent strategy of UMG’s litigation opponents is to attempt to waste my and UMG’s time and resources with discovery of the sort that Drake is seeking here — either in an attempt to gain media attention or in an effort to force some kind of commercial renegotiation or financial concessions.”
Grainge also denied having any personal involvement in the rollout or marketing for “Not Like Us.”
“Whilst, as part of my role, I certainly have financial oversight of and responsibility for UMG’s global businesses,” he said, “the proposition that I was involved in, much less responsible for, reviewing and approving the content of ‘Not Like Us,’ its cover art or music video, or for determining or directing the promotion of those materials, is groundless and indeed ridiculous.”
In a separate letter to the court, UMG said that “The premise of Drake’s motion — that he could not have lost a rap battle unless it was the product of some imagined secret conspiracy going to the top of UMG’s corporate structure — is absurd.”
Who knows if Kendrick Lamar will sit for a formal deposition in Drake’s ongoing defamation lawsuit against Universal Music Group, after Lamar flambéed him on “Not Like Us.” But at SoFi Stadium on Wednesday, Lamar and his co-headliner SZA had a great recurring bit imagining what might happen.
In a fake video montage played between set changeovers, Lamar responded to mock-questioning like, “When you said you want the party to die, was that a metaphor or are you serious?” and “Don’t you think disappearing is a form of attention-seeking?” by blowing him off and phoning in a big order of takeout. SZA then lighted up an enormous joint in the lawyer’s office.
The pair’s Grand National Tour is a triumph of the unbothered. Wednesday’s set — the first of a three-night SoFi stand — was a bountiful, meticulous three-hour show that centered on the camaraderie between two of the most important acts in contemporary music. They had a wicked sense of humor about the performance too. At one point, SZA seduced a giant, slicked-up praying mantis dancer. If only we all had the same leeway when deposed.
Lamar, coming off a pair of Grammy wins for “Not Like Us” and a gleefully petty Super Bowl halftime show, is at perhaps the peak of his career. So it’s worth noting how inspiringly egalitarian this hometown show was — a hierarchy-free split with former TDE labelmate SZA, often fully meshing their sets together for their on-record collaborations. The format brought new energy and understanding into their catalogs, all while the pair gassed each other up as virtuoso live performers.
Kendrick Lamar and SZA at the 2016 Grammys.
(Lester Cohen / WireImage)
On Wednesday, SZA arguably made the most of the stadium-sized opportunity. SZA is a powerhouse vocalist and musical omnivore with a stoner’s comic timing (most recently seen in the charming comedy film “One of Them Days”). But she’s now honed her stagecraft to be on par with any pop royalty. Between “Snooze” and “Crybaby,” she was lifted on wires, revealing a gauze train in the shape of a chrysalis, to spellbinding effect. It took some real mettle to then perform her ballad “Nobody Gets Me” midair.
A surprise cameo from Lizzo paid alms to their long friendship, and a bawdy slice of her verse from Drake’s “Rich Baby Daddy” proved she can own even a nemesis’ material with her charisma. When she spun “Garden (Say It Like Dat)” into “Kitchen,” the dancers’ delightfully goopy, insectoid costumes and monolithic ant sculpture felt like H.R. Giger taking mushrooms on a warm afternoon in Kenneth Hahn State Recreation Area.
When she and Lamar shared the stage, as on the Oscar-nominated “All the Stars,” “30 for 30” and their respective solo cuts “Doves in the Wind” and “LOVE.,” there was an alchemy between two superfans, their physical presence across the diamond-shaped catwalks reinvigorating this long-beloved music.
At this point, Lamar’s case for being the best rapper alive is fully closed. Of course he is. Even if you thought the title was a little wobbly after the knotty, skeptical “Mr. Morale & the Big Steppers,” the acid-bath of “Not Like Us” and the L.A-embodying surprise release “GNX” slammed the debate shut as it spun off hit after hit. Who else could make a pitch-perfect indictment of the current American political climate onstage at the Super Bowl halftime show, while needling his most loathed enemy and spinning off memes with just a quick grin in bootcut jeans?
At SoFi, a few miles from his old Compton backyard, he drew from that monumental catalog and recontextualized it for this club-ready, venom-streaked era. The show’s format covered more than 50 songs between the two artists, so even when he only got to a verse or two, there was always something new or bracing. Here, “m.A.A.d. city,” one of his hardest and cruelest street cuts, became a meta-R&B number that made the song even more eerie. On “Humble.,” he was flanked by female dancers posing in vicious geometric forms, physically embodying the ego-check of the song’s chorus.
The Drake flame-war material was delicious fun, from the shots-fired kickoff verse on “Like That” to the relentless, merciless taunts on “Euphoria.” But the “GNX” segments, like the Tupac-conjuring “reincarnated” and the ice-cold “peekaboo” (and, obviously, the great Mustard-y howl of “tv off”) made the case for how this album will continue to reveal new textures and resonate in L.A. lore. There wasn’t room for a five-times-reprised “Not Like Us” like at his history-making 2024 “The Pop Out: Ken & Friends” set. But when he did play it, it was less about his archenemy than about L.A., a city with a new song in the canon, a definitive “Us” who were all alike in screaming it.
It felt poignant that Lamar and SZA reunited again for the set’s closers, the unexpectedly relentless Hot 100 fixture “luther” (now at 13 weeks at No. 1) and “gloria,” Lamar’s bait-and-switch about his complicated relationship to his own writing process. With SZA as his Greek chorus, he ended the night on a note about how all this relentless work was worth it to arrive at real self-understanding. An ally that will never fail, no matter who out there is deposing you.
Commentary: Bad Bunny will perform Super Bowl LX’s halftime show, likely in Spanish. Cue the meltdown
The NFL announced the musical headliner for Super Bowl LX’s halftime show, and — much to MAGA’s chagrin — it’s not Kid Rock.
Music’s most lucrative spot went to a relevant artist who actually sells albums: Bad Bunny. Letting the Puerto Rican rapper and singer turned global megastar perform 2026’s halftime show gifts right-wing influencers with a fresh conduit for the old grievance that woke culture has permeated every crevice of American culture, especially the Super Bowl.
Their proof: The NFL chose a predominantly Spanish-language artist who is known to wear women’s dresses, who endorsed Kamala Harris in 2024, and who has decried this year’s immigration sweeps. Clearly, this decision was designed to irk them rather than serve Bad Bunny’s millions and millions of fans.
“The NFL is self-destructing year after year,” conservative commentator Benny Johnson wrote on X. He said of Bad Bunny: “Massive Trump hater. Anti-ICE activist. No songs in English.”
Other critics accused the reggaeton artist of flip-flopping, particularly following Bad Bunny’s statements earlier this month that he would not include any mainland U.S. dates on his Debí Tirar Más Fotos world tour out of concern that U.S. Immigration and Customs Enforcement agents might target and detain his fans.
“There were many reasons why I didn’t show up in the U.S., and none of them were out of hate — I’ve performed there many times,” he said to I-D magazine. “But there was the issue of — like, f—ing ICE could be outside [my concert]. And it’s something that we were talking about and very concerned about.”
The artist, whose real name is Benito Antonio Martínez Ocasio, explained his decision to join the long list of Super Bowl halftime notables in a short statement following the NFL’s announcement Sunday.
“What I’m feeling goes beyond myself,” he said. “It’s for those who came before me and ran countless yards so I could come in and score a touchdown … this is for my people, my culture and our history. Ve y dile a tu abuela, que seremos el HALFTIME SHOW DEL SUPER BOWL.”
Bad Bunny in glasses, not a dress.
(Jordan Strauss / Invision / AP)
The year-after-year decision to cast top-ranking pop artists and music legends in the featured Super Bowl halftime spot is hardly a mystery. They are stars that sell or performers that appeal to millions. But that dull reality hasn’t stopped the characterizations that the Bad Bunny decision is a deep state conspiracy, designed to rot American households from the inside out.
“Barack Obama’s best friend Jay-Z runs the Super Bowl selection process through his company Roc Nation which has an exclusive contract with the NFL. This is who chooses the halftime show, the most-watched musical performance in America,” wrote alt-right figure Jack Posobiec.
The NFL in 2019 partnered with rapper Jay Z’s entertainment and sports company, Roc Nation, to produce its Super Bowl halftime shows. The first show under the new partnership featured 2020’s Latin music in performances by Jennifer Lopez and Shakira. Since then the institution’s halftime performances have largely featured hip-hop artists such as Kendrick Lamar, Rihanna and the OG trio of Snoop Dogg, Dr. Dre and Eminem.
Lamar’s 2025 politically charged performance was the source of condemnation from the right. Clad in red, white and blue, his predominantly Black dance crew assembled in an American flag formation. And guest star Samuel L. Jackson, dressed as Uncle Sam, called out the nation’s systemic racism. Lamar had already rankled the right with 2017’s “The Heart Part 4,” where he referred to Trump as a “chump.”
Kendrick Lamar performs during halftime of the NFL Super Bowl 59.
(Frank Franklin II / AP)
It’s one of many moments over the last decade that have galvanized conservative factions around calls to boycott the Super Bowl, or at least publicly bash the event. Beyoncé’s 2016 Super Bowl halftime show was once such flash point, where she performed “Formation” featuring dancers in Black Panther-inspired outfits and paid tribute to the Black Lives Matter movement.
At least those complaints were rooted in a performance that actually happened, as opposed to claims that the NFL was manipulating games for the Kansas City Chiefs to enable tight end Travis Kelce and his then-girlfriend (now fiancée) Taylor Swift to endorse Joe Biden. Sure, totally feasible.
Yet there should be no secret around why the Super Bowl hasn’t featured wildly popular, globally celebrated MAGA-promoting performers: There aren’t any. It’s no wonder Kid Rock and Lee Greenwood always seem to be the entertainment of choice for Trump rallies.
Bad Bunny is the most-streamed male artist on Spotify, running just behind the platform’s most-streamed artist of all time, Swift. As of Sunday, his release “DeBÍ TiRAR MáS FOToS” became the first album of 2025 to surpass 7 billion streams on Spotify. And the 31-year-old artist just finished a sold-out, month-long residency at the José Miguel Agrelot Coliseum in San Juan, Puerto Rico.
Though the Super Bowl is still five months away, those who aren’t among the haters can enjoy an early kick off: Bad Bunny is scheduled to host the new season opener of “SNL” this weekend.
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UMG chief Lucian Grainge: Drake’s ‘Not Like Us’ lawsuit ‘ridiculous’
Universal Music Group Chief Executive Lucian Grainge called Drake’s lawsuit over Kendrick Lamar’s hit diss track “Not Like Us” a “farcical” effort that’s “groundless and indeed ridiculous.”
In a declaration letter filed Thursday night in the Southern District of New York, Grainge said that Drake’s accusation that UMG (the parent label firm to both Drake and Lamar) defamed him and damaged his career “makes no sense due to the fact that the company that I run, Universal Music Group N.V., has invested hundreds of millions of dollars in Drake, including longstanding and critical financial support for his recording career, the purchase and ownership of the bulk of his recording catalog, and the purchase of his music publishing rights.”
Drake signed a new deal with UMG label Republic in 2022 for a reported $400 million, and he’s one of the bestselling artists of the last 20 years. Yet Interscope artist Lamar’s scathing “Not Like Us” famously capped a venomous battle between the two artists, which resulted in a pair of Grammy wins for Lamar, who performed the song at the Super Bowl halftime show.
Drake’s attorneys, in discovery, have recently tried to obtain UMG’s contract with Lamar and information about his personal life (Drake accused Lamar of beating his partner in the song “Family Matters”). Drake has accused UMG of both defamation and running a clandestine campaign to boost “Not Like Us” at the expense of his own reputation and career.
A notably exasperated Grainge wrote to the court that “Given my role, I am accustomed (and unfortunately largely resigned) to personal attacks, and I further recognize that a frequent strategy of UMG’s litigation opponents is to attempt to waste my and UMG’s time and resources with discovery of the sort that Drake is seeking here — either in an attempt to gain media attention or in an effort to force some kind of commercial renegotiation or financial concessions.”
Grainge also denied having any personal involvement in the rollout or marketing for “Not Like Us.”
“Whilst, as part of my role, I certainly have financial oversight of and responsibility for UMG’s global businesses,” he said, “the proposition that I was involved in, much less responsible for, reviewing and approving the content of ‘Not Like Us,’ its cover art or music video, or for determining or directing the promotion of those materials, is groundless and indeed ridiculous.”
In a separate letter to the court, UMG said that “The premise of Drake’s motion — that he could not have lost a rap battle unless it was the product of some imagined secret conspiracy going to the top of UMG’s corporate structure — is absurd.”
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Kendrick Lamar, SZA’s wicked humor takes center stage at SoFi Stadium
Who knows if Kendrick Lamar will sit for a formal deposition in Drake’s ongoing defamation lawsuit against Universal Music Group, after Lamar flambéed him on “Not Like Us.” But at SoFi Stadium on Wednesday, Lamar and his co-headliner SZA had a great recurring bit imagining what might happen.
In a fake video montage played between set changeovers, Lamar responded to mock-questioning like, “When you said you want the party to die, was that a metaphor or are you serious?” and “Don’t you think disappearing is a form of attention-seeking?” by blowing him off and phoning in a big order of takeout. SZA then lighted up an enormous joint in the lawyer’s office.
The pair’s Grand National Tour is a triumph of the unbothered. Wednesday’s set — the first of a three-night SoFi stand — was a bountiful, meticulous three-hour show that centered on the camaraderie between two of the most important acts in contemporary music. They had a wicked sense of humor about the performance too. At one point, SZA seduced a giant, slicked-up praying mantis dancer. If only we all had the same leeway when deposed.
Lamar, coming off a pair of Grammy wins for “Not Like Us” and a gleefully petty Super Bowl halftime show, is at perhaps the peak of his career. So it’s worth noting how inspiringly egalitarian this hometown show was — a hierarchy-free split with former TDE labelmate SZA, often fully meshing their sets together for their on-record collaborations. The format brought new energy and understanding into their catalogs, all while the pair gassed each other up as virtuoso live performers.
Kendrick Lamar and SZA at the 2016 Grammys.
(Lester Cohen / WireImage)
On Wednesday, SZA arguably made the most of the stadium-sized opportunity. SZA is a powerhouse vocalist and musical omnivore with a stoner’s comic timing (most recently seen in the charming comedy film “One of Them Days”). But she’s now honed her stagecraft to be on par with any pop royalty. Between “Snooze” and “Crybaby,” she was lifted on wires, revealing a gauze train in the shape of a chrysalis, to spellbinding effect. It took some real mettle to then perform her ballad “Nobody Gets Me” midair.
A surprise cameo from Lizzo paid alms to their long friendship, and a bawdy slice of her verse from Drake’s “Rich Baby Daddy” proved she can own even a nemesis’ material with her charisma. When she spun “Garden (Say It Like Dat)” into “Kitchen,” the dancers’ delightfully goopy, insectoid costumes and monolithic ant sculpture felt like H.R. Giger taking mushrooms on a warm afternoon in Kenneth Hahn State Recreation Area.
When she and Lamar shared the stage, as on the Oscar-nominated “All the Stars,” “30 for 30” and their respective solo cuts “Doves in the Wind” and “LOVE.,” there was an alchemy between two superfans, their physical presence across the diamond-shaped catwalks reinvigorating this long-beloved music.
At this point, Lamar’s case for being the best rapper alive is fully closed. Of course he is. Even if you thought the title was a little wobbly after the knotty, skeptical “Mr. Morale & the Big Steppers,” the acid-bath of “Not Like Us” and the L.A-embodying surprise release “GNX” slammed the debate shut as it spun off hit after hit. Who else could make a pitch-perfect indictment of the current American political climate onstage at the Super Bowl halftime show, while needling his most loathed enemy and spinning off memes with just a quick grin in bootcut jeans?
At SoFi, a few miles from his old Compton backyard, he drew from that monumental catalog and recontextualized it for this club-ready, venom-streaked era. The show’s format covered more than 50 songs between the two artists, so even when he only got to a verse or two, there was always something new or bracing. Here, “m.A.A.d. city,” one of his hardest and cruelest street cuts, became a meta-R&B number that made the song even more eerie. On “Humble.,” he was flanked by female dancers posing in vicious geometric forms, physically embodying the ego-check of the song’s chorus.
The Drake flame-war material was delicious fun, from the shots-fired kickoff verse on “Like That” to the relentless, merciless taunts on “Euphoria.” But the “GNX” segments, like the Tupac-conjuring “reincarnated” and the ice-cold “peekaboo” (and, obviously, the great Mustard-y howl of “tv off”) made the case for how this album will continue to reveal new textures and resonate in L.A. lore. There wasn’t room for a five-times-reprised “Not Like Us” like at his history-making 2024 “The Pop Out: Ken & Friends” set. But when he did play it, it was less about his archenemy than about L.A., a city with a new song in the canon, a definitive “Us” who were all alike in screaming it.
It felt poignant that Lamar and SZA reunited again for the set’s closers, the unexpectedly relentless Hot 100 fixture “luther” (now at 13 weeks at No. 1) and “gloria,” Lamar’s bait-and-switch about his complicated relationship to his own writing process. With SZA as his Greek chorus, he ended the night on a note about how all this relentless work was worth it to arrive at real self-understanding. An ally that will never fail, no matter who out there is deposing you.
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