Levi’s Stadium in Santa Clara, California, reverberated with a distinctly Latin energy on , as Bad Bunny delivered a Super Bowl L halftime show that was as much a cultural statement as it was a musical performance. The 14-minute set, a first for the Super Bowl in its entirely Spanish presentation, wasn’t simply a concert; it was a vibrant celebration of Puerto Rican heritage and a broader embrace of Latin American identity, punctuated by surprise appearances and deeply personal moments.
From the opening moments, Bad Bunny immersed the audience in a visual narrative of Puerto Rico, beginning with a scenic shot of him walking through a sugar cane field alongside dancers representing field workers. This imagery, a clear nod to the island’s agricultural roots and the labor that sustains it, set the tone for a performance steeped in symbolism. He launched into “Tití Me Preguntó,” immediately establishing the show’s high energy and captivating the stadium.
The performance wasn’t a solo act. Bad Bunny welcomed a constellation of Latin stars to the stage, including Lady Gaga, who joined him for a salsa-infused rendition of “Die With A Smile” amidst a staged wedding scene. Ricky Martin also made an appearance, performing “Lo Que Le Pasó a Hawaii,” a song often interpreted as a call for Puerto Rican autonomy. The guest list extended beyond musical artists, with cameos from Pedro Pascal, Jessica Alba, Karol G and Cardi B, all seen enjoying the show from a recreation of Bad Bunny’s signature “casita” – a small, traditionally Puerto Rican home that frequently appears in his performances.
Beyond the star power, Bad Bunny infused the show with deeply personal touches. A particularly poignant moment came when he presented a Grammy Award to a young fan watching on a television screen, a gesture that resonated with themes of aspiration and representation. He also took a moment to share his own story, stating, “Mi nombre es Benito Antonio Martínez Ocasio, y si hoy estoy aquí en el Super Bowl 60 es porque nunca, nunca dejé de creer en mí y tú también deberías de creer en ti, vales más de lo que piensas” – “My name is Benito Antonio Martínez Ocasio, and if I am here today at Super Bowl 60, it’s because I never, ever stopped believing in myself, and Try to believe in yourself too, you are worth more than you think.”
The set design itself was a dynamic representation of Latin life, shifting between scenes of a nail salon, a bustling market (“La Marqueta”), and a dramatic moment where Bad Bunny crashed through a roof onto a new stage. These transitions weren’t merely aesthetic choices; they were visual cues representing the diverse experiences and environments within the Latin diaspora.
The performance also subtly addressed political undertones. A visual reference to the 2022 blackout in Puerto Rico, caused by Hurricane Maria, was incorporated through the use of towers of light. Bad Bunny then carried a Puerto Rican flag, a symbol of national pride and, for some, a statement of independence. However, the overall message steered clear of direct political confrontation, instead focusing on unity. He concluded the show by proclaiming “God Bless America” before listing the nations of Central, South, and North America, accompanied by dancers carrying their respective flags. This culminated in the message “Together, We Are America,” displayed on a football he carried and then struck against the field – a symbolic “Touch Down” for inclusivity.
The reception to Bad Bunny’s performance was swift and varied. While overwhelmingly positive from Latin communities and music critics, the show drew criticism from former President Donald Trump, who labeled it “absolutely terrible” on his social media platform, Truth Social. This reaction, while predictable given Trump’s past comments about Bad Bunny and immigration, underscored the cultural significance of the performance and its challenge to traditional Super Bowl halftime show norms.
Bad Bunny’s halftime show wasn’t just about entertainment; it was a moment of cultural affirmation. By centering Puerto Rican culture and the broader Latin American experience on the world’s biggest stage, he broke barriers and sent a powerful message of unity and self-belief. The echoes of his performance, and the sentiment behind his closing message – “Lo único más poderoso que el odio es el amor” (“The only thing more powerful than hate is love”) – will likely resonate far beyond the confines of Levi’s Stadium.
