Kendrick Lamar’s Super Bowl Performance: A Night of Triumph and Subversion
The Anticipation and Victory of “Not Like Us”
Kendrick Lamar’s headlining performance at Super Bowl LIX was one of the most anticipated events in recent pop culture history, and much of the excitement centered around one question: would he perform his explosive diss track, “Not Like Us”? This song, which had become a generational anthem and a Grammy award-winning masterpiece, was more than just a hit—it was a weapon. It was the culmination of a months-long battle with Drake, a song so potent that it not only redefined the power dynamics in hip-hop but also landed Lamar in a defamation lawsuit. The answer to the question came toward the end of his set, when Lamar finally unleashed the track, building anticipation with teasing musical nods and playful pauses. But what truly etched this moment into history was not just the song itself, but Lamar’s reaction to performing it. His wide, persistent grin was not just a victory lap; it was the unfiltered joy of a man who had come out on top in a brutal creative war. The performance was both a celebration of his triumph and a thinly veiled jab at his rival, with Lamar rapping lines like “Say, Drake, I hear you like ‘em young” while motioning downward with his hand, as if patting the head of a child. The line, along with others that accused Drake of being a “certified pedophile,” was delivered with a mix of jubilance and naughtiness, leaving no doubt about the song’s target.
The Sober Strategist and the Champagne Cork
Kendrick Lamar is not known for his lightheartedness. He is a serious artist, a storyteller who thrives on complexity and introspection, and his music often reflects a deep sense of purpose and gravitas. Even during his feud with Drake, Lamar seemed to approach the situation with a sense of duty, as if dismantling his rival was a necessary task rather than a passion project. But “Not Like Us” was different. On the Super Bowl stage, surrounded by the opulence of the Caesars Superdome in New Orleans, this song felt like a champagne cork popping after years of tension. The grin that spread across Lamar’s face as he began rapping was not just a moment of triumph—it was a rare glimpse of unbridled joy from an artist who usually keeps his emotions tightly controlled. The song’s performance was a spectacle, perhaps the peak of any rap battle in history, and it was delivered with a level of confidence and swagger that only Lamar could pull off. And yet, it wasn’t without its concessions. Lamar avoided using the word “pedophile,” replacing it with a prerecorded scream, and the camera cut away just before he delivered the sing-songy punchline, “A minorrrrrrr.” These adjustments were almost certainly made to avoid further legal repercussions, but they didn’t dull the song’s impact. If anything, they added to the intrigue, leaving audiences to fill in the blanks and wonder what had been left unsaid.
A Performative Metanarrative
The inclusion of Samuel L. Jackson as a one-man Greek chorus added another layer of depth to the performance. Dressed as Uncle Sam, Jackson served as both a narrator and a provocateur, goading Lamar and the audience throughout the set. His presence was a constant reminder of the larger themes at play—themes that Lamar wove seamlessly into his performance. After Lamar performed two songs with SZA, “Luther” and “All the Stars,” Jackson remarked, “That’s what America wants—nice, calm. You’re almost there—don’t mess this …” Lamar’s response was immediate and decisive: he launched into “Not Like Us,” a song that is anything but nice or calm. This exchange highlighted one of the central tensions of the night: the pressure on Black artists, particularly rappers, to conform to certain expectations in order to gain broader acceptance. The halftime show, which had its first hip-hop headliner just a year earlier in 2022, is a symbol of both progress and compromise. Lamar’s performance was a nuanced exploration of this tightrope act, with Jackson’s character representing the voices that demand compliance and Lamar’s music representing the resistance to those demands. The inclusion of Jackson’s character also raised questions about the ethics of performing on such a grand stage, particularly given the NFL’s complicated history with Black Lives Matter and Colin Kaepernick’s kneeling protests. Lamar nodded to these struggles throughout the performance, but his focus was ultimately personal, centered on his own vendetta with Drake.
The Personal and the Political
While Lamar’s set was full of political undertones, it was ultimately a deeply personal performance. The inclusion of songs like “Man at the Garden” and “Peekaboo” from his recent album “GNX” suggested a desire to showcase his latest work, even as he leaned into the spectacle of “Not Like Us.” The decision to open the set with an unreleased track used for album promotion also felt like a calculated move, one that emphasized Lamar’s status as both an artist and a businessman. But it was the moments where Lamar wove the metanarrative of the performance into the performance itself that truly stood out. After performing “Squabble Up,” Jackson reappeared to berate Lamar, saying, “Too loud, too reckless, too ghetto—Mr. Lamar, do you really know how to play the game?” Lamar’s response was immediate and unapologetic: he launched into “Humble.,” a song that is both a celebration of success and a rejection of external expectations. His dancers, dressed in red, white, and blue tracksuits, formed the shape of the American flag, a visual statement that was both a nod to patriotism and a critique of the systems that seek to suppress Black expression. Lamar’s performance was not just about Drake; it was about the broader struggle for authenticity in a world that often demands conformity.
The Spectacle and the Subversion
The performance was also a spectacle in the truest sense of the word. From the moment Lamar took the stage, it was clear that this was not just a concert—it was an event, a carefully choreographed exploration of themes that ranged from personal vendettas to systemic oppression. The inclusion of Serena Williams, who appeared onstage and Crip Walked with evident glee, added to the sense of celebration, but it also raised questions about the ways in which Black culture is both celebrated and commodified. The moment when Lamar performed “Not Like Us” was not just a musical highlight; it was a cultural touchstone, a moment that will be remembered long after the details of the song itself have faded. And yet, for all its spectacle, the performance was also deeply subversive. Lamar’s decision to perform a song that is at the center of a defamation lawsuit, and to do so on one of the largest platforms in the world, was a bold statement about the power of art to challenge and provoke. It was a reminder that even in the most controlled and commercialized of spaces, there is still room for defiance and resistance.
The Flag, the Revolution, and the Limitations of the Stage
But not all acts of defiance are equal, and not all of them are allowed to be televised. Toward the end of the set, a man appeared onstage with a banner combining the flags of Palestine and Sudan, featuring a heart and a fist. It was a powerful symbol of solidarity, and it seemed to suggest that the performance was not just about personal triumphs but also about broader struggles for justice. But the moment was short-lived. Footage captured from inside the stadium showed the man being chased offstage by security guards, who tackled him and carried him off the field. The incident was not broadcast on television, and it was quickly erased from the official narrative of the performance. It was a stark reminder of the limitations of the Super Bowl stage, and of the ways in which even the most powerful platforms are subject to censorship and control. For Lamar, the performance was a victory, but it was also a compromise. He had used the stage to advance his own agenda, but the broader revolution he hinted at would not be televised.
