Are We Losing the Spectacle of the Halftime Show?
On February 8, Bad Bunny brought his infectious energy and desire for unity to Santa Clara, CA, and to screens all over the world. The show was not only an ode to his home of Puerto Rico, but a tribute to the diversity of the Americas. With the setlist featuring hits spanning his nearly decade-long career, and him bringing out renowned guests including Lady Gaga and Ricky Martin, the show felt primed for success. And by all means, it was: it is the fourth most-watched Halftime Show of all time. Yet, in spite of its fantastic attributes, to me, this show fell flat in its delivery.
The show notably did not feel larger than life as we’ve seen in halftime shows past. To me, the best halftime shows deliver a spectacle. Think of Prince singing “Purple Rain” as rain engulfed the stadium in Miami, or Lady Gaga belting out “This Land Is Your Land” with the backdrop of the American flag in the sky, before jumping from the roof of Houston’s NRG Stadium. Rather than match the surprise and magic of previous legendary shows, Bad Bunny’s show reminds me most of The Weeknd’s COVID-era show. Both shows have the camera primarily focused on the artist, rather than zooming out and treating the artist and set as one. In The Weeknd’s case, there was a global pandemic, and the show prioritizing the at-home audience made sense. But Bad Bunny had every opportunity to make the show come alive in-person. As I watched, I wondered; the show was certainly catered to an online audience who could enjoy the close up shots of the set, dancers, and moments like Bad Bunny falling inside of the apartment set and shocking everyone inside. But to the tens of thousands seated in the stands; did this performance feel disjointed?
This isn’t to say that I don’t like or respect what Bad Bunny tried to do, and did, during his set. I appreciate his message of hope, unity and uplifting the global community. I found his setlist energetic and well chosen, especially his tribute to one of the most memorable songs from Puerto Rico, Daddy Yankee’s “Gasolina.” But Bad Bunny had the opportunity to pursue true excellence through stage presence and set design. This is especially evident in Bad Bunny’s entrance to the show, which felt lackluster: The viewers simply come across him in the maze, rather than him surprising us and immediately owning the show.
Arguably, the last truly show-stopping Halftime Show, Lady Gaga’s, will turn ten next year. And perhaps a lot of my critique of Bad Bunny’s halftime show is a critique of a post-pandemic world where the industry seems fixated on catering everything to creating replayable moments on YouTube and TikTok. But Kendrick Lamar proved that the Halftime Show can be a symbolic, intricately detailed, specific narrative that still utilises every part of the stadium, from the stands to the field, to illuminate the story and the songs performed. Bad Bunny’s Halftime Show had the opportunity to deliver his message in an exciting, jaw-dropping way, as Lady Gaga’s did not so long ago. Rather, the show cements itself in a virtual audience.