Dorm watch parties across campus erupted with excitement as students watched the Superbowl halftime camera pan across lush sugarcane fields to reveal Bad Bunny. It was a moment that had been anticipated for weeks. As the first artist to win Album of the Year at the Grammys for a Spanish language album and a cultural icon for the Latinx diaspora in America, this was more than a performance. It was a cultural moment, and Bad Bunny had understood the assignment.
The performance opened with Bad Bunny singing “Tití Me Preguntó” amidst vegetation. Surrounded by people cutting down stalks of sugarcane, dancers moved through the fields in vibrant clothing that contrasted sharply against the green. The stage itself was lined with tropical plants and wooden structures reminiscent of the Puerto Rican countryside. But the plantation-like fields seemed to carry a heavier meaning beneath the celebration. For anyone who’s studied the history of colonization in the Caribbean (something especially relevant for those of us in History 200) the imagery seemed impossible to ignore. The sugarcane fields weren’t merely aesthetic choices, but deliberate references to Puerto Rico’s colonial past, to centuries of forced labor and exploitation that still shape the island today.
After Kendrick Lamar’s performance last year set the bar high, there was uncertainty about whether Bad Bunny could deliver something with the same cultural weight. He did more than deliver. As dancers moved across the stage in vibrant traditional dress and Bad Bunny moved between songs, the show felt remarkably cohesive. The choreography matched each track’s energy, shifting as the music sped up or slowed down. Musically, Bad Bunny exhibited considerable range when showcasing his vocal depth. Between the dancers, music, and staging, what emerged was a performance built on meticulous attention to detail. With stunning visuals paired expertly with layered music, everything flowed together seamlessly.
In addition to the brilliant visual effects and music, one of the most striking moments of the show was an actual wedding woven into the performance. The couple jokingly invited Bad Bunny to their wedding, and he ultimately invited them to be married during his halftime performance instead. Rather than a single reveal, the couple’s appearance unfolded gradually throughout the show, beginning with a subtle proposal near the beginning and progressing to a full ceremony framed by dancers, set pieces, and a real officiant.
Bad Bunny wasn’t the only famous artist lighting up the halftime stage. Lady Gaga joined Bad Bunny for a salsa rendition of her acclaimed song “Die With a Smile.” Moreover, Gaga sang in Spanish and danced alongside Bad Bunny during “Baile Inolvidable,” connecting their distinct styles seamlessly in front of a national audience.
While the official halftime show was praised for its vibrant energy and cultural range, it also prompted a very different response elsewhere. Turning Point USA organized an alternative halftime show dubbed the “All-American Halftime Show,” which was explicitly created in response to Bad Bunny’s performance. Far from matching the diversity or viewership that the NFL show had, the alternate broadcast, with headliner Kid Rock, seemed more focused on political division and hate, rather than entertainment and community.
Lastly, Bad Bunny closed off with “DtMF,” one of his most highly regarded songs. As the track, a song written about memories of Puerto Rico, played, the screen behind him read: “The Only Thing More Powerful Than Hate is Love.” This performance was so much more than just entertainment. It was a statement. It was a love letter to his home, his culture, and everyone who’s ever felt caught between two cultures, two worlds. The way he commanded that stage and the emotion in his voice created a memorable performance that reminded us why Bad Bunny isn’t just a musician, but a voice for millions who see themselves in his story.
