In September 2025, the NFL, Apple Music, and Roc Nation confirmed that Bad Bunny will headline the 2026 Super Bowl, and the Super Bowl halftime show in Santa Clara, California.
Fresh off a record-breaking Puerto Rico residency that drew over half a million fans, the Latin megastar has cemented himself as one of the most-streamed artists on the planet with albums like Un Verano Sin Ti — the first all-Spanish-language LP to top the Billboard 200. His upcoming performance is set to mark a new cultural milestone: the first Latin artist to solo-headline the Super Bowl stage.
But Bad Bunny joins a long line of halftime performers whose shows have reflected more than just music — they’ve mirrored American pop culture itself. What began as modest marching band routines in the late 1960s gradually transformed into theatrical variety showcases, then into the blockbuster performances that now rival the game’s own audience.
Everything changed in 1993, when Michael Jackson moonwalked onto the Rose Bowl stage and turned the halftime break into must-see television. From that moment on, the Super Bowl halftime show became the world’s most prestigious live stage — a collision of music, marketing, and cultural memory.
1967 – 1992: Marching Bands, Pageantry, and Patriotic Themes
Before the halftime show became the biggest stage in pop music, it was something much simpler — and far more traditional. From the very first Super Bowl in 1967 through the early 1990s, halftime was less a concert and more a continuation of the day’s patriotic pageantry. Marching bands from universities like Grambling State, Florida A&M, and the University of Michigan took centre field, often joined by Broadway performers, drill teams, or themed spectacles tied to Americana, film, or the year’s cultural milestones.
The 1970s leaned heavily on Bicentennial-era celebration, blending jazz bands and marching formations with titles like “A Musical America” and “Tribute to Duke Ellington.” By the 1980s, the NFL began experimenting with television-friendly concepts — 3-D glasses, Disney tie-ins, and groups like Up With People — but the focus remained on family entertainment, not superstardom.
It wasn’t until the early 1990s that the NFL realised it was losing the halftime audience to counter-programming on other networks. Their solution? Bring in the biggest star on the planet. Enter Michael Jackson at Super Bowl XXVII (1993) — the performance that redefined what halftime could be, transforming it from background entertainment into the most-watched musical event of the year.
1993: Michael Jackson Changes Everything
Super Bowl XXVII, held at the Rose Bowl in Pasadena, marked the precise moment the halftime show became the show.
Michael Jackson’s performance — opening with the King of Pop standing motionless for nearly two full minutes before launching into “Jam,” “Billie Jean,” and “Black or White” — set a new production standard and changed the NFL’s strategy forever.
Gone were the marching bands and medleys; in their place stood pyrotechnics, choreography, global satellite feeds, and one of the most famous closing moments in live TV history: Jackson surrounded by 3,500 children singing “Heal the World.”
The broadcast drew record-breaking ratings and singlehandedly stopped channel-switching during halftime — something that had plagued the NFL for years. From that moment, the Super Bowl Halftime Show wasn’t filler; it was appointment viewing. Every artist that followed would be measured against it.
1994–2001: Experimentation, Variety, and the Search for a Formula
After Michael Jackson’s seismic 1993 performance, the NFL spent the rest of the decade figuring out what, exactly, a Super Bowl halftime show should be. The years that followed became a fascinating period of trial and error — big ideas, crossover acts, and the occasional oddball theme that could only exist in the ’90s.
In 1994, country music took centre stage for “Rockin’ Country Sunday” with Clint Black, Tanya Tucker, and The Judds, while 1995 saw the infamous Indiana Jones-themed show featuring Tony Bennett and Patti LaBelle — complete with stunt performers and a fake boulder chase. By 1996, Diana Ross delivered one of the first truly theatrical exits, famously being airlifted out of the stadium by helicopter as “Take Me Higher” blared.
The late ’90s continued the genre-mixing trend: Blues Brothers Bash (1997) with James Brown and ZZ Top, a Motown 40th anniversary celebration in 1998, and Stevie Wonder’s “Celebration of Soul, Salsa and Swing” in 1999. These years proved the NFL was still chasing Jackson’s magic — shifting from nostalgia to spectacle, but not yet finding a consistent identity.
By 2000, things grew grander, if not always coherent. The turn-of-the-millennium show (“A Tapestry of Nations”) blended Phil Collins, Christina Aguilera, and an 80-person choir. The following year, 2001’s “Kings of Rock and Pop” brought together Aerosmith, ’N Sync, Britney Spears, Mary J. Blige, and Nelly — the moment where everything finally clicked. It was chaotic, over-the-top, and perfectly pop — the prototype for the modern Super Bowl halftime show.
2001–2006: Pop Peaks, Controversy, and a Classic Rock Reset
If Michael Jackson reinvented the halftime show, Aerosmith, ’N Sync, and Britney Spears supercharged it. The 2001 “Kings of Rock and Pop” spectacular perfectly embodied the turn-of-the-millennium mood — a glossy blend of MTV-era pop, rock, and celebrity chaos. It was unashamedly loud, crowded, and viral before “viral” even existed, setting the tone for the next few years of over-the-top, multi-artist lineups.
The formula carried through 2002, when U2 delivered one of the most emotionally resonant halftime shows ever — a 9/11 tribute that balanced spectacle with genuine humanity. It was a rare moment where entertainment and empathy aligned perfectly, and remains one of the most universally praised halftime shows in history.
Then came 2004, the year everything changed again — but for all the wrong reasons. Janet Jackson, Justin Timberlake, P. Diddy, Nelly, and Kid Rock shared the stage in what was meant to be another high-energy, star-packed medley. But the broadcast ended with the now-infamous “wardrobe malfunction,” when Timberlake tore Jackson’s costume during “Rock Your Body,” exposing her breast live on air to over 140 million viewers. The moment sparked global outrage, FCC fines, and a years-long backlash that disproportionately targeted Jackson while effectively putting the entire show under a moral microscope.
It also had an unexpected cultural side effect — the search for that clip directly inspired the creation of YouTube the following year, proving that even scandal could reshape the way the world consumed media.
The NFL’s response was swift and conservative — ushering in what many dubbed the “Classic Rock Safety Era.” From Paul McCartney in 2005 to The Rolling Stones in 2006, the league pivoted hard toward veteran rock icons with spotless reputations and proven live credentials. The move was designed to rebuild trust, but it also stripped the show of its pop edge — creating a strange, sanitized intermission period that would last until the late 2000s.
2007–2013: Revival, Reinvention, and the Rise of Pop Power
After several cautious years, the Super Bowl halftime show roared back to life in 2007 — thanks to Prince. Performing in the pouring rain at Miami’s Dolphin Stadium, he transformed what could’ve been a production nightmare into one of the most transcendent live performances in television history. Dressed in turquoise and orange, wielding his symbol-shaped guitar, and flanked by a massive silhouette projected on a curtain, he tore through “Let’s Go Crazy,” “Baby I’m a Star,” and covers of CCR’s “Proud Mary,” Bob Dylan’s “All Along the Watchtower,” and Foo Fighters’ “Best of You.” Then came the finale — “Purple Rain” played in an actual thunderstorm — a moment so cinematic it seemed divinely orchestrated. It wasn’t just a comeback for the halftime show; it was a spiritual reset.
The NFL, still cautious, kept to its trusted formula for the next few years. Tom Petty & the Heartbreakers (2008), Bruce Springsteen and the E Street Band (2009), and The Who (2010) delivered crowd-pleasing, no-risk rock sets — expertly played but lacking the cultural electricity that had once defined the spectacle.
Then, in 2011, The Black Eyed Peas brought LEDs, dance troops, and guest spots from Usher and Slash — messy, loud, but undeniably modern. It signaled that pop was back. Madonna’s 2012 performance sealed the transition: a Roman-themed, high-gloss extravaganza featuring Nicki Minaj, M.I.A., and CeeLo Green, it was part Las Vegas revue, part Super Bowl sermon, and every bit as grandiose as expected — middle-finger controversy included.
But it was Beyoncé in 2013 who redefined what a halftime show could mean in the social media age. Opening with a shadow-play silhouette and pyrotechnic precision, she delivered a tightly choreographed masterclass of athleticism and artistry. “Crazy in Love,” “End of Time,” “Baby Boy,” and “Halo” fused into one unstoppable medley — punctuated by a Destiny’s Child reunion that sent the Superdome into chaos. Every lighting cue, camera angle, and breath was calculated yet electric. It wasn’t just a performance; it was a statement of dominance — and a reminder that the halftime show now belonged to the era’s biggest cultural forces, not just its biggest voices.
If Michael Jackson had invented the modern halftime show, Prince and Beyoncé ensured it would never be the same again.
2014–2021: The Streaming Era Spectacle
By the mid-2010s, the halftime show had become more than a concert — it was a cultural barometer, a viral moment factory, and a billion-dollar branding opportunity. Every performer wasn’t just playing to a stadium; they were performing to the world’s timelines.
Bruno Mars kicked things off in 2014, backed by the Red Hot Chili Peppers, proving that pure musicianship and charisma could still command the biggest stage on Earth. His James Brown-esque showmanship and live drumming reminded everyone that the halftime show could still feel like a band performance.
In 2015, Katy Perry turned the entire field into a meme playground — entering on a giant golden lion, duelling with Missy Elliott, and spawning “Left Shark,” one of the internet’s first great Super Bowl memes. Coldplay’s 2016 set for the 50th Superbowl — bolstered by Beyoncé and Bruno Mars — was a technicolour celebration of inclusivity and pop unity, climaxing with Beyoncé’s Black-Panther-inspired “Formation” choreography, which briefly hijacked the NFL’s narrative.
Lady Gaga took that energy sky-high in 2017, literally leaping off the roof of Houston’s NRG Stadium before delivering a patriotic, tightly choreographed masterclass that balanced artistry with accessibility.
The following years became a showcase of generational power: Justin Timberlake (2018) paid tribute to Prince in his home state of Minnesota, though the performance drew mixed reviews for its safe polish. Maroon 5 (2019) struggled to connect amid public backlash over the NFL’s treatment of Colin Kaepernick — a rare year where the music couldn’t escape the politics around it.
Then, in 2020, Shakira and Jennifer Lopez reignited the halftime show’s energy with a joyful, unapologetic celebration of Latin culture. Joined by Bad Bunny, J Balvin, and Emme Muñiz, they delivered one of the most dynamic and dance-driven shows in history — shimmering with colour, movement, and global rhythm.
A year later, as the world emerged from lockdowns, The Weeknd performed to a half-empty Raymond James Stadium in 2021, transforming pandemic restrictions into an artistic statement. His maze-like “Blinding Lights” sequence through mirrored corridors became instantly iconic — a surreal, lonely pop opera that captured the mood of its time.
2022–2026: The Hip-Hop Renaissance and Global Takeover
If The Weeknd’s masked maze symbolised isolation, Dr. Dre’s 2022 halftime show was the antidote — a communal celebration of hip-hop history finally taking its rightful place on the Super Bowl stage. Backed by an all-star lineup of Snoop Dogg, Eminem, Mary J. Blige, Kendrick Lamar, 50 Cent, and Anderson .Paak, the performance was both a tribute and a triumph. Set on a block-long Compton streetscape, it blended nostalgia with activism — from Kendrick’s militant precision to Eminem’s kneel — and proved that rap, once sidelined, was now the cultural centrepiece of American music.
In 2023, Rihanna turned minimalism into power. Suspended high above the field on levitating platforms, she performed an unbroken medley of hits — “Umbrella,” “Diamonds,” “Work” — and closed with a casual reveal of her pregnancy, commanding one of the most viral moments in Super Bowl history without a single guest. It was confidence distilled: proof that spectacle doesn’t need excess when presence is enough.
Usher followed in 2024, bringing Las Vegas showmanship to Las Vegas itself. His halftime show was a kinetic blur of roller skates, dance crews, and R&B nostalgia, weaving through classics like “Yeah!” and “Burn” while reuniting with Alicia Keys, Lil Jon, and Ludacris. It was pure entertainment — precise, joyful, and full of heart — the kind of feel-good performance that reminded audiences why the halftime show endures.
Then came 2025, when Kendrick Lamar and SZA took the stage at New Orleans’ Caesars Superdome and shifted the tone entirely. Their show was less about glitz and more about message — a visually rich, narratively charged piece that blended hip-hop theatre, social commentary, and jazz-infused New Orleans heritage. Opening with a slow, poetic recitation over a brass band, Kendrick framed the performance as a dialogue between past and present — a nod to the city’s musical roots and America’s cultural reckoning.
SZA’s entrance, rising from a submerged platform surrounded by a sea of dancers dressed in waterlike fabric, brought balance and grace to Kendrick’s intensity. Together they performed “Alright,” “HUMBLE.,” “Kill Bill,” and “Snooze,” with transitions laced through spoken word and archival audio of civil rights speeches. The finale, “All the Stars,” set against a projected night sky filled with constellations forming Black musical icons, was both haunting and hopeful — a love letter to resilience and creativity. It was the first halftime show in years to earn both critical acclaim and cultural debate — hailed as brave, cinematic, and deeply American in its storytelling.
From Brass Bands to Bad Bunny: The Ever-Changing Soundtrack of America
Across nearly sixty years, the Super Bowl halftime show has evolved from local marching bands and patriotic medleys into the world’s most-watched concert — a mirror for every shift in American culture, technology, and taste. What once celebrated small-town pageantry now defines global pop identity. Each era — from Michael Jackson’s 1993 reinvention to Prince’s storm-drenched masterpiece, Beyoncé’s digital dominance, and the hip-hop revolution led by Dr. Dre and Kendrick Lamar — reflects a changing idea of who gets to own the biggest stage on Earth.
Now, with Bad Bunny headlining Super Bowl LX in 2026, the circle feels complete. The halftime show that once struggled for television attention is now a multilingual, multi-generational event watched by hundreds of millions across continents. What began with brass and baton twirlers has become a global pulse — proof that even in an ever-fractured world, a single song can still unite nearly everyone, if only for fifteen unforgettable minutes.
🏟️ Complete Super Bowl Halftime Show History (1967–2026)
| Year | Super Bowl | Performer(s) | Stadium | City | Teams (Winner in bold) |
|---|---|---|---|---|---|
| 2026 | LX | Bad Bunny | Levi’s Stadium | Santa Clara, California | TBD |
| 2025 | LIX | Kendrick Lamar featuring SZA | Caesars Superdome | New Orleans, Louisiana | Kansas City Chiefs vs. Philadelphia Eagles |
| 2024 | LVIII | Usher | Allegiant Stadium | Las Vegas, Nevada | Kansas City Chiefs vs. San Francisco 49ers |
| 2023 | LVII | Rihanna | State Farm Stadium | Glendale, Arizona | Kansas City Chiefs vs. Philadelphia Eagles |
| 2022 | LVI | Dr. Dre, Snoop Dogg, Eminem, Mary J. Blige, Kendrick Lamar feat. 50 Cent & Anderson .Paak | SoFi Stadium | Inglewood, California | Los Angeles Rams vs. Cincinnati Bengals |
| 2021 | LV | The Weeknd | Raymond James Stadium | Tampa, Florida | Tampa Bay Buccaneers vs. Kansas City Chiefs |
| 2020 | LIV | Shakira & Jennifer Lopez feat. Bad Bunny, J Balvin & Emme Muñiz | Hard Rock Stadium | Miami Gardens, Florida | Kansas City Chiefs vs. San Francisco 49ers |
| 2019 | LIII | Maroon 5 feat. Travis Scott & Big Boi | Mercedes-Benz Stadium | Atlanta, Georgia | New England Patriots vs. Los Angeles Rams |
| 2018 | LII | Justin Timberlake & The Tennessee Kids | U.S. Bank Stadium | Minneapolis, Minnesota | Philadelphia Eagles vs. New England Patriots |
| 2017 | LI | Lady Gaga | NRG Stadium | Houston, Texas | New England Patriots vs. Atlanta Falcons |
| 2016 | 50 | Coldplay feat. Beyoncé & Bruno Mars | Levi’s Stadium | Santa Clara, CA | Denver Broncos vs. Carolina Panthers |
| 2015 | XLIX | Katy Perry feat. Lenny Kravitz & Missy Elliott | Univ. of Phoenix Stadium | Glendale, AZ | New England Patriots vs. Seattle Seahawks |
| 2014 | XLVIII | Bruno Mars feat. Red Hot Chili Peppers | MetLife Stadium | East Rutherford, NJ | Seattle Seahawks vs. Denver Broncos |
| 2013 | XLVII | Beyoncé feat. Destiny’s Child | Mercedes-Benz Superdome | New Orleans, LA | Baltimore Ravens vs. San Francisco 49ers |
| 2012 | XLVI | Madonna feat. LMFAO, Nicki Minaj, M.I.A., CeeLo Green | Lucas Oil Stadium | Indianapolis, IN | New York Giants vs. New England Patriots |
| 2011 | XLV | Black Eyed Peas feat. Usher & Slash | Cowboys Stadium | Arlington, TX | Green Bay Packers vs. Pittsburgh Steelers |
| 2010 | XLIV | The Who | Sun Life Stadium | Miami Gardens, FL | New Orleans Saints vs. Indianapolis Colts |
| 2009 | XLIII | Bruce Springsteen & E Street Band | Raymond James Stadium | Tampa, FL | Pittsburgh Steelers vs. Arizona Cardinals |
| 2008 | XLII | Tom Petty & The Heartbreakers | Univ. of Phoenix Stadium | Glendale, AZ | New York Giants vs. New England Patriots |
| 2007 | XLI | Prince & Florida A&M Band | Dolphin Stadium | Miami Gardens, FL | Indianapolis Colts vs. Chicago Bears |
| 2006 | XL | The Rolling Stones | Ford Field | Detroit, MI | Pittsburgh Steelers vs. Seattle Seahawks |
| 2005 | XXXIX | Paul McCartney | Alltel Stadium | Jacksonville, FL | New England Patriots vs. Philadelphia Eagles |
| 2004 | XXXVIII | Janet Jackson, Kid Rock, P. Diddy, Nelly & Justin Timberlake | Reliant Stadium | Houston, TX | New England Patriots vs. Carolina Panthers |
| 2003 | XXXVII | Shania Twain & No Doubt feat. Sting | Qualcomm Stadium | San Diego, CA | Tampa Bay Buccaneers vs. Oakland Raiders |
| 2002 | XXXVI | U2 | Louisiana Superdome | New Orleans, LA | New England Patriots vs. St. Louis Rams |
| 2001 | XXXV | Aerosmith, ’N Sync, Britney Spears, Mary J. Blige & Nelly | Raymond James Stadium | Tampa, FL | Baltimore Ravens vs. New York Giants |
| 2000 | XXXIV | Phil Collins, Christina Aguilera, Enrique Iglesias, Toni Braxton | Georgia Dome | Atlanta, GA | St. Louis Rams vs. Tennessee Titans |
| 1999 | XXXIII | Stevie Wonder, Gloria Estefan & Big Bad Voodoo Daddy | Pro Player Stadium | Miami Gardens, FL | Denver Broncos vs. Atlanta Falcons |
| 1998 | XXXII | Boyz II Men, Smokey Robinson, Queen Latifah & The Temptations | Qualcomm Stadium | San Diego, CA | Denver Broncos vs. Green Bay Packers |
| 1997 | XXXI | Dan Aykroyd, John Goodman & Jim Belushi with James Brown & ZZ Top | Louisiana Superdome | New Orleans, LA | Green Bay Packers vs. New England Patriots |
| 1996 | XXX | Diana Ross | Sun Devil Stadium | Tempe, AZ | Dallas Cowboys vs. Pittsburgh Steelers |
| 1995 | XXIX | Tony Bennett, Patti LaBelle & Miami Sound Machine | Joe Robbie Stadium | Miami Gardens, FL | San Francisco 49ers vs. San Diego Chargers |
| 1994 | XXVIII | Clint Black, Tanya Tucker, Travis Tritt & The Judds | Georgia Dome | Atlanta, GA | Dallas Cowboys vs. Buffalo Bills |
| 1993 | XXVII | Michael Jackson | Rose Bowl | Pasadena, CA | Dallas Cowboys vs. Buffalo Bills |
| 1992 | XXVI | Gloria Estefan & Olympic skaters | Metrodome | Minneapolis, MN | Washington Redskins vs. Buffalo Bills |
| 1991 | XXV | New Kids on the Block | Tampa Stadium | Tampa, FL | New York Giants vs. Buffalo Bills |
| 1990 | XXIV | Pete Fountain, Doug Kershaw & Irma Thomas | Superdome | New Orleans, LA | San Francisco 49ers vs. Denver Broncos |
| 1989 | XXIII | Elvis Presto (3-D Show) | Joe Robbie Stadium | Miami, FL | San Francisco 49ers vs. Cincinnati Bengals |
| 1988 | XXII | The Rockettes & Chubby Checker | Jack Murphy Stadium | San Diego, CA | Washington Redskins vs. Denver Broncos |
| 1987 | XXI | George Burns, Mickey Rooney & College Bands | Rose Bowl | Pasadena, CA | New York Giants vs. Denver Broncos |
| 1986 | XX | Up With People | Superdome | New Orleans, LA | Chicago Bears vs. New England Patriots |
| 1985 | XIX | Tops in Blue | Stanford Stadium | Stanford, CA | San Francisco 49ers vs. Miami Dolphins |
| 1984 | XVIII | Florida & Florida State Bands | Tampa Stadium | Tampa, FL | Los Angeles Raiders vs. Washington Redskins |
| 1983 | XVII | L.A. Super Drill Team | Rose Bowl | Pasadena, CA | Washington Redskins vs. Miami Dolphins |
| 1982 | XVI | Up With People | Pontiac Silverdome | Pontiac, MI | San Francisco 49ers vs. Cincinnati Bengals |
| 1981 | XV | Southern University Band | Superdome | New Orleans, LA | Oakland Raiders vs. Philadelphia Eagles |
| 1980 | XIV | Up With People & Grambling Band | Rose Bowl | Pasadena, CA | Pittsburgh Steelers vs. Los Angeles Rams |
| 1979 | XIII | Ken Hamilton & Caribbean Bands | Orange Bowl | Miami, FL | Pittsburgh Steelers vs. Dallas Cowboys |
| 1978 | XII | Tyler Apache Belles, Pete Fountain & Al Hirt | Superdome | New Orleans, LA | Dallas Cowboys vs. Denver Broncos |
| 1977 | XI | L.A. All-City Band & New Mouseketeers | Rose Bowl | Pasadena, CA | Oakland Raiders vs. Minnesota Vikings |
| 1976 | X | Up With People | Orange Bowl | Miami, FL | Pittsburgh Steelers vs. Dallas Cowboys |
| 1975 | IX | Mercer Ellington & Grambling Band | Tulane Stadium | New Orleans, LA | Pittsburgh Steelers vs. Minnesota Vikings |
| 1974 | VIII | Univ. of Texas Band | Rice Stadium | Houston, TX | Miami Dolphins vs. Minnesota Vikings |
| 1973 | VII | Univ. of Michigan Band & Woody Herman | L.A. Coliseum | Los Angeles, CA | Miami Dolphins vs. Washington Redskins |
| 1972 | VI | Ella Fitzgerald, Carol Channing, Al Hirt & USMC Drill Team | Tulane Stadium | New Orleans, LA | Dallas Cowboys vs. Miami Dolphins |
| 1971 | V | Anita Bryant & SE Missouri State Band | Orange Bowl | Miami, FL | Baltimore Colts vs. Dallas Cowboys |
| 1970 | IV | Carol Channing, Lionel Hampton & Southern Band | Tulane Stadium | New Orleans, LA | Kansas City Chiefs vs. Minnesota Vikings |
| 1969 | III | Florida A&M Band | Orange Bowl | Miami, FL | New York Jets vs. Baltimore Colts |
| 1968 | II | Grambling State Band | Orange Bowl | Miami, FL | Green Bay Packers vs. Oakland Raiders |
| 1967 | I | Univ. of Arizona & Grambling Bands with Al Hirt | L.A. Coliseum | Los Angeles, CA | Green Bay Packers vs. Kansas City Chiefs |
