Kendrick Lamar's Political Statement in Super Bowl LIX

Kelby Chichester

Kendrick Lamar’s highly anticipated Super Bowl LIX Halftime Show was met with widespread excitement and joy from fans and music lovers worldwide. However the performance also sparked backlash from some critics, who dismissed it as a so-called “DEI halftime show” a term weaponized in right-wing circles to attack diversity, equity and inclusion efforts. The criticism echoed President Donald Trump’s ongoing opposition to DEI initiatives. 

Lamar a Grammy-winning artist from Compton California and the first rapper to win a Pulitzer Prize for Music made history as the first solo hip-hop performer to headline the Super Bowl halftime show. His performance which celebrated Black culture through powerful storytelling and symbolism. Unfortunately, it was hailed by many as a landmark moment in music and sports entertainment. However conservative commentators on X took issue with the show with some calling his music “garbage” and claiming they couldn’t understand his lyrics. Others framed the performance as an example of DEI overtaking American culture reducing the artistic and cultural significance of Lamar’s set to a political talking point. 

Despite the criticism Lamar’s halftime show was widely praised for its creativity bold messaging and cultural impact. As discussions around race, representation and artistic expression continue, his performance stands as a powerful statement on the role of hip-hop in shaping modern American identity. 

Other users even called out the hypocrisy in some of the tweets that complained about the lack of racial diversity in Lamar’s performance. Saying things such as, “So, you wanted diversity, equity and inclusion… in his performance?”  

Standing atop a black Buick GNX, rapper Kendrick Lamar delivered a striking warning: “The revolution ‘bout to be televised. You picked the right time, but the wrong guy.” His words, a bold inversion of Gil Scott-Heron’s 1971 poem The Revolution Will Not Be Televised. 

Lamar who recently swept the Grammys used his 13-minute Super Bowl showcase to highlight the ongoing mistreatment of Black people in America. As he performed, dancers clad in red, white and blue moved forming a fragmented American flag a striking visual representation of a divided nation. Notably the flag itself was composed entirely of Black dancers  reinforcing the reality that Black Americans have long been integral to the country’s foundation while still facing systemic oppression. 

The performance’s layers of symbolism did not go unnoticed. At its core it was a celebration of Black culture and resilience but it also carried an undercurrent of defiance. With Lamar positioned at the center of the fractured flag, the imagery spoke volumes about America’s struggles with race, unity and identity. Many viewers also interpreted the moment as a veiled critique of President and convicted felon Donald Trump who was in attendance as well as a lyrical jab at Drake with whom Lamar has an ongoing feud. 

Subtle yet powerful Lamar’s halftime performance was more than just entertainment it was a statement. By intertwining music, movement, and symbolism, he delivered a message that resonated far beyond the stadium, sparking conversations about race, resistance and the unyielding fight for justice in America. 

Samuel L. Jackson also took the stage as a modern-day Uncle Sam, donning a star-spangled top hat as he introduced the audience to “the great American game.” 

Guiding the audience through Kendrick Lamar’s electrifying performance, Jackson’s remarks reflected America’s historical policing of Black expression. After Lamar’s high-energy performance of Squabble Up, Jackson quipped, “Too loud, too reckless, too ghetto,” echoing the criticisms often hurled at Black artists and communities. Later when SZA joined Lamar for Luther and All the Stars”, Jackson’s tone shifted. “That’s what America wants! Nice and calm,” he exclaimed, seemingly highlighting the preference for Black artists to remain palatable rather than disruptive. 

Jackson’s performance quickly drew comparisons to his role as Stephen the loyal house slave from Quentin Tarantino’s Django Unchained. The parallel raised questions about whether his exaggerated Uncle Sam character was a biting satire on America’s historical contradictions praising Black culture when it is convenient yet condemning it when it challenges the status quo.