The Super Bowl LX halftime show on , featuring Bad Bunny, wasn’t just a performance; it was a cultural moment. And, as often happens with moments that challenge established norms, it sparked debate. While the artistic merit of the show itself is still being dissected – and celebrated by many – a significant portion of the conversation centered on the fact that Bad Bunny performed entirely in Spanish. The reaction, predictably, revealed a fault line in how deeply English-language music dominates the global conversation, and prompted a question: how many people are simply unfamiliar with music not sung in their native tongue?
Bad Bunny’s selection as headliner was, in itself, a historic decision. As noted by CBS News, the NFL even released a “Bad Bunny 101” guide in an attempt to familiarize a wider audience with the artist and his work. This wasn’t merely about introducing a new name; it was about acknowledging the massive global impact of a performer who has largely bypassed the traditional pathways to mainstream American success by building a devoted following through Spanish-language music. The 31-year-old artist, whose real name is Benito Antonio Martínez Ocasio, has achieved a level of stardom rarely seen outside of English-speaking artists.
The decision wasn’t universally applauded. Former President Trump publicly criticized the lineup, including Bad Bunny and Green Day, calling it a “terrible choice.” This reaction, while politically charged, underscored a deeper resistance to cultural shifts within the entertainment landscape. NFL Commissioner Roger Goodell, however, defended the choice, calling Bad Bunny “one of the greatest artists in the world” and anticipating minimal controversy. Goodell’s assessment proved optimistic, as the language of the performance quickly became a focal point of discussion.
The controversy isn’t simply about language preference; it’s about accessibility and expectation. For decades, the Super Bowl halftime show has been a platform for primarily English-speaking artists. The expectation, for many viewers, is that the performance will be in a language they understand. Bad Bunny’s decision to perform exclusively in Spanish challenged that expectation, forcing some to confront their own linguistic limitations and, perhaps, their assumptions about what constitutes “mainstream” entertainment.
Interestingly, Bad Bunny himself doesn’t necessarily see a need to justify his artistic choices. As Petra Rivera-Rideau, an associate professor of American studies at Wellesley College specializing in Latin music, told CBS News, “One thing about Bad Bunny is that he is a master at the art of surprise.” There was speculation leading up to the performance that he might incorporate political messaging or, at the very least, include a song or two in English. However, as Mike Alfaro, creator of Millennial Lotería, pointed out, “I think just him being there is the political message.”
Alfaro’s comment is key. Bad Bunny’s presence on the Super Bowl stage, performing in his native language, is a statement in itself. It’s a validation of Latin culture, a demonstration of the power of music to transcend linguistic barriers, and a challenge to the dominance of English in the global music industry. The fact that he didn’t feel the need to compromise his artistic vision by including English lyrics speaks volumes about his confidence and his commitment to his roots.
The artist’s catalog is entirely in Spanish, a deliberate choice that has contributed to his unique sound and global appeal. As Yahoo News reported, Bad Bunny’s Spanish is distinctive, characterized by “many skipped consonants, Spanglish, neologisms, and argot that it borders on Creole.” He is, however, proficient in English and has conducted numerous interviews in the language, suggesting that a future foray into English-language music isn’t entirely out of the question. But for the Super Bowl, he remained true to his artistic identity.
The reaction to the performance, as reported by Bolavip, focused on whether any English lyrics would be included. The fact that the setlist remained entirely in Spanish wasn’t a surprise to many fans, who anticipated a celebration of his cultural identity. The performance spanned a range of styles, from reggaeton to the sounds featured on his Grammy-winning album “Debí Tirar Más Fotos,” which blends salsa and other genres.
The debate sparked by Bad Bunny’s halftime show isn’t simply about one artist or one performance. It’s a reflection of a broader cultural conversation about inclusivity, representation, and the evolving landscape of the entertainment industry. The NFL’s decision to embrace a non-English-speaking artist, despite the predictable backlash, signals a willingness to challenge traditional norms and reach a wider, more diverse audience. Whether this represents a genuine shift in strategy or a calculated risk remains to be seen, but one thing is certain: Bad Bunny’s Super Bowl performance will be remembered as a watershed moment in the history of the event, and a powerful statement about the growing influence of Latin music on the global stage.
The question of how many people only listen to music in English remains unanswered, but the intensity of the reaction to Bad Bunny’s performance suggests it’s a significant number. The challenge for the music industry, and for events like the Super Bowl, is to find ways to bridge that gap, to encourage audiences to embrace music from different cultures and languages, and to recognize that great art transcends linguistic boundaries.
