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Chicago Tribune
2 days ago
- Entertainment
- Chicago Tribune
Review: Despite uneven pace, a masterful Kendrick Lamar exceeds the hype
Kendrick Lamar treated himself to a modest victory lap Friday at a packed Soldier Field. Strolling around a series of ramps and runways, the rapper flexed his muscles like a champion boxer proud of his title belt. The somewhat muted display represented Lamar at his most physically ostentatious. Predominantly reserved and incredibly focused, the MC delivered knockouts with one dynamite delivery after another. Lamar's singular way with words nearly absolved the 160-minute show of its flaws — mainly, the decision to interweave his sets with those of co-headliner SZA into a continuous nine-act whole, and the irreconcilable contrasts that resulted. In town on his 'Grand National Tour,' Lamar walked the talk. His boasts of being the greatest of all time? Hard to argue at this point. Lamar didn't need the compulsory glitter that complements most massive concerts. Yes, there were fireworks galore, blast-furnace flames, skyward-shot fireballs and mechanical platforms. Pre-recorded interrogation-themed vignettes doubled as preludes. Lamar would've been equally effective if he just had his microphone for his razor-wire voice and stage-spanning video wall to project conceptual imagery — pawn shop and corner liquor-store signage, three-dimensional digital sculptures, provocative collages, coded slogans — tied to songs. Lamar also brought his black 1987 Buick GNX coupe along for the ride, using it as a recurring prop and occasional entrance-exit device. A 16-person dance team, a descent down a flight of stairs and a choreographed segment where the California native walked atop a long table while his ensemble sat on one side were about as theatrical as things got in his universe. He focused on narrative devices, demonstrating an elite command of dynamics, syntax, tone, timing, tension and pitch. Aside from a blinged-out 'X' chain hanging from his neck, Lamar eschewed gaudiness and wore only two outfits. No hype men, no special guests, no gratuitous self-promotion. And no overt showboating, even with his voice. Mainly, a batch of biting songs and an effortless flow that often operated as the parallel of a world-class rhythm section. With his current trek, Lamar joins Jay-Z and Eminem on the short list of hip hop artists who co-headlined stadium tours in North America. Though all three partnered with an R&B singer, Lamar planned an outing — the 39-date tour heads to Europe in July — more ambitious in scope. He's regularly shattering records. In Seattle, he established the new mark for highest gross revenue ($14.8 million) for a single performance by a rapper. It's already a foregone conclusion that the 'Grand National Tour' will rank as the highest-grossing rap tour in history, adding to a series of feats that place the 37-year-old on the same global phenom platform as Beyoncé, Lady Gaga and Taylor Swift. Since winning the Pulitzer Prize for music in 2018 for his 'Damn' LP, Lamar has dominated. His 2022 'Mr. Morale & the Big Steppers' record drew widespread acclaim, gave him his fourth consecutive No. 1 album and spawned an international tour that included a headlining Lollapalooza slot. Turns out, he was only warming up. In spring 2024, Lamar engaged in a public feud with Drake, dropped four acclaimed diss singles (with 'Not Like Us' netting five Grammy Awards), released the chart-topping 'GNX' LP and spearheaded the most-watched Super Bowl halftime show in history. Meet the former Chicago 'theater kid' who stages Kendrick Lamar Given his winning streak, nobody would've flinched if Lamar framed his portion of the event as a celebration. Yet moments of sheer joy arrived sparingly, a balance in a greater storytelling arc involving introspection, anger, reflection, comfort, struggle, fear, confusion and spirituality. He even reshaped the buoyant Black Lives Matter anthem 'Alright,' trading its definite optimism for something far less certain, with the familiar refrain echoing as a question without a guaranteed answer. Complications, critiques and conflicts filled his verses. On more than one occasion, Lamar appeared in intense conversation with himself — and prior guises of himself — in attempting to navigate deep-rooted internal strife. During the piano-laden 'Reincarnated,' he linked his past lives to those of John Lee Hooker and Billie Holiday before zooming back on his present self and its battle for freedom from the devil. As he transitioned into a rendition of Baby Keem's 'Family Ties,' the terms 'Respect' and 'Or' interchangeably flashed on the screen between 'Money ' and 'Power.' Crouching on the hood of his vehicle, a predator ready to strike at any prey that neared, he spat the rhymes to 'Man at the Garden' as mantra in a seeming attempt to convince his toughest critic — himself — he deserves the spoils of this life and the one that could follow. 'This is not a song / This is a revelation,' Lamar declared on 'TV Off.' He took those words to heart, whether toppling enemies with scathing aggression ('Euphoria'), repping his hometown in deceptively laconic fashion ('Dodger Blue') or blending slang, onomatopoeia and pop-culture references into a bass-booming banger ('Squabble Up'). Lamar's lyrical swagger and rhythmic control defied limitations. He treated phrases like shifting puzzle pieces. Precise and transparent, and garnished with a hint of raspiness, his hydraulic voice cut through every mix. He switched frequencies akin to an analog radio tuner, raced ahead and then cruised along as if behind the wheel of a souped-up car. Lamar dodged and dashed syllables, sliced and syncopated cadences, cleaving language into staggered patterns that danced, taunted, bounced and attacked. He let the rhythm hit 'em with every opportunity. If only he'd played a single, uninterrupted set and sustained a constant momentum. Lamar's decision to perform snippets of multiple songs also fell short of the intended mark. Potent cuts such as 'King Kunta,' 'Backseat Freestyle' and 'Swimming Pools (Drank)' came across as teases or afterthoughts. But those were minor missteps compared to the unevenness of Lamar and SZA's traded-off sequences. Both would have been better served with standalone programs and collaborating once within each segment. SZA made for a fine duet partner on the six songs they performed together. She countered his coarser tendencies with smooth softness on fare such as 'Love' and the heartfelt ballad 'Luther.' Her soulful voice proved up to task on her own material, too. But the similarities between her and Lamar's approaches, along with the sharp divide in their overall musical styles, created a whiplash effect and stunted pacing. SZA also went overboard with production, pyrotechnics and costume changes. Despite a few standout moments during which she asserted independence ('The Weekend,' a cover of Rihanna's 'Consideration'), she more often was subservient to scenery and symbolism. Indulging in garden motifs, the singer mingled with dancers dressed as insects, straddled a giant grasshopper and, for the acoustic-based 'Nobody Gets Me,' hovered above the stage wearing a pair of wings that transformed her into a sprite. Background visuals reinforced her obsession with bugs and grasslands, which worked to clever purpose during the revenge fantasy 'Kill Bill.' Unfortunately, many of the vocal and emotional subtleties that SZA showed on a prior tour stop at the United Center faded here. Perhaps in an effort to compensate, the 35-year-old St. Louis native opted for the opposite spectrum. Embracing big melodies and sugary choruses, she trumpeted exaggerated slickness and puffy drama on a healthy number of tunes. With a guitarist by her side doing little else than striking the poses of bygone hair-metal pretenders, SZA sang from her knees and brought back '80s pop rock. In another context, maybe the throwback succeeds. But on a tour on which Lamar stands as the equivalent of an undefeated prizefighter with no close suitors, a bold visionary taking hip-hop and dialect places seldom explored, the disconnect is too from Soldier Field on June 8: Kendrick Lamar 'Wacced Out Murals' 'Squabble Up' 'King Kunta' 'Element' 'TV Off' (Part I) Lamar and SZA '30 for 30' SZA 'What Do I Do' 'Love Galore' 'Broken Clocks' 'The Weekend' Lamar 'Euphoria' 'Hey Now' 'Reincarnated' 'Humble' 'Backseat Freestyle' 'Family Ties' (Baby Keem cover) 'Swimming Pools (Drank)' 'Sweet Love' (Anita Baker cover) into 'M.A.A.D. City' 'Alright' 'Man at the Garden' SZA 'Scorsese Baby Daddy' 'F2F' 'Garden (Say It Like Dat)' 'Kitchen' 'Blind' 'Consideration' (Rihanna cover) 'Low' Lamar and SZA 'Doves in the Wind' 'All the Stars' 'Love' Lamar 'Dodger Blue' 'Peekaboo' 'Like That' (Future/Metro Boomin cover) 'DNA' 'Good Credit' (Playboi Carti cover) 'Count Me Out' into 'Don't Kill My Vibe' 'Money Trees' 'Poetic Justice' SZA 'I Hate U' 'Go Gina' 'Kill Bill' 'Snooze' 'Open Arms' 'Nobody Gets Me' 'Good Days' 'Rich Baby Daddy' (Drake cover) 'BMF' 'Kiss Me More' (Doja Cat cover) Lamar 'N95' 'TV Off' (Part II) 'Not Like Us' Lamar and SZA 'Luther' 'Gloria'
New York Times
09-02-2025
- Entertainment
- New York Times
Super Bowl 2025 halftime show set list: Will Kendrick Lamar perform ‘Not Like Us'?
The Athletic has live coverage of the Super Bowl halftime performance featuring Kendrick Lamar. Predicting Kendrick Lamar's set list for the Super Bowl LIX halftime show isn't easy, given his extensive catalog over the last 15-plus years. In his interview Thursday with Apple Music's Ebro Darden and Nadeska Alexis, Lamar said he liked being the 'present,' and 'storytelling' should be expected from Sunday's performance. He also mentioned the show from his The Big Steppers Tour following his 'Mr. Morale & the Big Steppers' album lasted 90 minutes. He's now tasked with telling a halftime story that will only last 13 minutes. GO DEEPER Kendrick Lamar reflects on 'grind' that preceded headlining Super Bowl show I attended the Sacramento stop on The Big Steppers Tour in August 2022. Through his performance, Lamar told the story of the album cohesively while also mixing in his biggest hits. Lamar referencing that tour while discussing his upcoming halftime show lends credence to a thematic performance rather than a medley of hits from all his albums. Advertisement It also helps that his latest work, 'GNX,' is a hit with songs that engage the crowd. The album, in many ways, is a tribute to the music that inspired Lamar from the 1980s and '90s. That alone provides for some potentially interesting visual ideas. Will there be an actual black GNX — a 1987 Buick Grand National — on the halftime stage? Will there be guest artists tied to the 'GNX' story besides SZA, who has already been announced as part of the show leading up to the Grand National Tour this year? Will Lamar have us longing for the dance music of the 1980s? Maybe R&B of the '90s? After winning five Grammy Awards for his track 'Not Like Us,' including Song of the Year and Record of the Year, it's hard to believe Lamar won't have that as part of the show. If a crowd of music stars and executives can yell lyrics at the Grammys, and if the beat to the song is played as part of the lead-up to the show, it doesn't seem that the legal issues with Spotify and Universal Music Group will keep the track from being a part of the show. The entire crowd at the #GRAMMYs was singing along to Kendrick Lamar's "A Minor" line — BAY AREA STATE OF MIND (@YayAreaNews) February 3, 2025 Keeping all of this in mind, Lamar is one of the most creative artists of his generation, and he could go in a completely different direction with his plans for halftime. As we inch closer to the start of the halftime show, here is one final prediction on what we may hear at Caesars Superdome. This is a little different from the previously published set list predictions, as this one leans heavily into 'GNX' — in addition to some hits that might still work. This should be a no-brainer, given the track has the line 'Walk in New Orleans with the etiquette of L.A.' Lamar said in the Apple Music interview he wants to bring the Los Angeles energy to the South because so many people in California have southern roots. Plus, the idea of Lamar yelling the 'Mustaarrrrd!' line with DJ Mustard on stage makes too much sense. Advertisement Chance it's played: 100 percent The first preview of this song was at the beginning of the 'Not Like Us' video. The sample of Debbie Deb's 1983 hit 'When I Hear Music' makes it something easy to dance to. Chance it's played: 100 percent Lamar said in a discussion with actor and film producer Timothée Chalamet that this song was the easiest to write on the album, and he meant every word of it. Lamar repeats 'I deserve it all' on the track. That is the kind of talk someone celebrating the accomplishment of playing at the Super Bowl would say on that stage. It's also a song that resonates across generations, as it is in the same vein of Nas' 2001 classic 'One Mic.' LeBron James is a public fan of the song, too. Why wouldn't Lamar use the song to take in the moment? Chance it's played: 100 percent Another sample from the 1980s — Luther Vandross and Cheryl Lynn's 1983 version of 'If This World Were Mine' — is in this song. It features SZA, and it's a hit. Chance it's played: 100 percent Another soulful track that fans have already mastered a line dance for. The Los Angeles Dodgers won the World Series in 2024. Lamar is often wearing a variation of a Dodgers hat. If he's walking 'in New Orleans with the etiquette of L.A.,' then a Dodgers song feels right. Chance it's played: 90 percent This song samples from SWV's 1996 hit 'Use Your Heart' and tells Lamar's story of how he climbed the ranks in the music industry, starting with his early days of simply trying to be noticed. Bringing SWV out for a guest appearance would resonate with Lamar's soulful roots. It also would be a chance to bring out the members of Top Dawg Entertainment who are mentioned on the song. Chance it's played: 80 percent This is a tribute to Tupac Shakur. If Lamar leans into a story of paying tribute to those who inspired him, a verse from this fits. Advertisement Chance it's played: 75 percent This song, a metaphor for hip-hop, has to be considered because it features SZA. The song also is one of three that features mariachi singer Deyra Barrera. Lamar heard her sing at Game 1 of the 2024 World Series as part of the tribute to Dodgers legend Fernando Valenzuela, who died before the series. Lamar often shows respect and admiration to Hispanic culture; Lamar collaborated with designer Willy Chavarria for his line of clothes for the Super Bowl. It would be a nod to Southern California if Lamar performed 'gloria' in New Orleans. Chance it's played: 60 percent This is one of my favorite songs on 'GNX.' The 'Black Noah, I just strangled me a goat' lyric is a Biblical reference, but also a subtle jab at Drake, who some consider a GOAT (greatest of all time) in the music world. Chance it's played: 55 percent This song is the first on the 'GNX' album. It mentions Lil Wayne, the New Orleans native who has said he will not be at the game. The song also mentions Snoop Dogg — whose loyalty Lamar questions — while having kind words for Nas. (Maybe it's Nas who is a surprise guest?) Chance it's played: 50 percent This track references being 'trophied up' and could get play just for that line alone, considering Lamar's recent Grammy success. (He has 22 Grammys total.) Chance it's played: 40 percent It's the title track, but it's also the song I have the hardest time seeing how Lamar fits in a 13-minute set. It features three other artists in Hitta J3, YoungThreat and Peysoh. Chance it's played: 25 percent No diss track ever collected awards like 'Not Like Us' did at the Grammys. The NFL is hands-on when it comes to what kind of language it allows in the halftime show, so this will be a cleaned-up portion of the song. But after the Grammys, it feels inevitable the world will be screaming 'A minorrrrrrr!' Advertisement Chance it's played: 100 percent This is the biggest hit of Lamar and SZA's collaborations. If SZA is a part of multiple songs, then this is a good bet to be on the list. Given the tour this year, it also fits Lamar being in the present with the performance. Chance it's played: 90 percent One of the hits from the Pulitzer Prize-winning album, 'DAMN.,' this song could be played should Lamar lean into some of his past hits. Chance it's played: 80 percent Here's another song from 'DAMN.' album that would translate well in a live show. Chance it's played: 80 percent This is another great live option, a track from Lamar's 2015 album 'To Pimp A Butterfly.' Chance it's played: 60 percent If there's a Lamar song more than a decade old that's worthy of the Super Bowl, it's this one from 2012. Chance it's played: 50 percent Lamar performed this three years ago as part of the Super Bowl halftime show with Dr. Dre. I can't see him bringing it back, but if he does, it'll be a hit. Chance it's played: 25 percent Remember when Lamar and Drake collaborated on tracks years ago? This is one of those tracks from back in the day. But now, there's a better chance of Tom Brady leaving the announcer's booth and playing in the game than Drake and Lamar performing together. Drake is on tour in Australia, so there's no chance of this happening in the first place. Chance it's played: minus-1,000,000 percent
