9th February 2025
Cultural relevance isn’t just about showing up—it’s about shaping the moment. And last night at Super Bowl halftime, Kendrick Lamar did exactly that on one of the biggest stages in the world.
From Samuel L. Jackson playing a modern-day Uncle Sam—mocking Kendrick and telling him to “play the game”—to Lamar standing in front of an American flag formed entirely by Black dancers, every frame of his Super Bowl LIX halftime show was designed to challenge, provoke, and solidify hip-hop’s place at the centre of culture. As he stood before the flag performing HUMBLE., the message was clear—sit down, be humble wasn’t just a lyric, it was a challenge to the system itself. Gil Scott-Heron’s words echoed louder than ever—this time, the revolution was televised.
Dressed in Deion Sanders’ classic Nike sneakers and flared Hedi Slimane Celine jeans, Kendrick blended high fashion with hip-hop’s DNA, while his pgLang ‘GLORIA’ jacket and ‘a minor’ chain teased the Converse collab drop that went live right after the show. Cultural storytelling at its finest.
But beyond the style, the gaming references ran deep—because Kendrick isn’t just tapping into the culture; he’s part of it. A well-known gamer, he’s spoken about his love for video games, and last night, that influence was undeniable. The set itself was a giant controller, symbolising the struggle for power, agency, and who really gets to “play the game.” From the 8-bit “Game Over” text flashing on-screen to the dancers wielding controllers, Kendrick turned the performance into a statement about control, rebellion, and breaking free from the system. The Squid Game influence was unmistakable—just like in the series, the rules are rigged, but Kendrick made it clear: he’s playing his own game.
And in a political climate where Trump is calling for the “termination” of DEI programs, Kendrick’s performance felt like direct resistance. A reminder that hip-hop is built on defiance, on truth-telling, on pushing back against a system designed to exclude. As some politicians try to erase diversity initiatives and roll back progress, Kendrick stood centre stage proving why representation isn’t a “trend”—it’s the culture.
Then there was Serena Williams, mid-performance, Crip Walking in A Ma Maniére x Converse Chuck 70s—a full-circle moment from the move she was once criticised for at Wimbledon, now immortalised on the biggest entertainment stage in the world. And the fact that Serena—Drake’s ex—was dancing just as Not Like Us shook the stadium? A subtle but undeniable moment in Kendrick and Drake’s ongoing beef.
And when Not Like Us hit? That wasn’t just a song—it was a power move. Hip-hop doesn’t just belong on this stage. It owns it.
A halftime show that won’t just be remembered. It’ll be studied.