Bad Bunny’s Super Bowl Halftime Show Was an All-American Triumph. Turning Point USA’s Was a Boring MAGA Grift With Kid Rock

The Turning Point USA "All-American Halftime Show," a direct response to the NFL's selection of Bad Bunny, opened with a 15-minute countdown that immediately set its commercial tone. Nearly 5.5 million viewers saw a persistent on-screen message urging them to "Wear the mission" and purchase official merchandise, framing the event from the start as a fundraising endeavor. This production was catalyzed by significant MAGA-aligned criticism of the league's choice to feature Bad Bunny—a global superstar from Puerto Rico whose Spanish-language performances celebrate Latino culture. The backlash highlighted a recurring cultural clash in American entertainment, where language and origin can become political flashpoints.

Struggling to live up to its patriotic billing, the show featured a lineup of Brantley Gilbert, Lee Brice, Gabby Barrett, and headliner Kid Rock. Their pop-country sets underscored the difficulties of quickly assembling a compelling alternative to a globally produced spectacle. Gilbert's opening, bathed in red light, featured an electric guitar version of the national anthem that lacked the transformative power of Jimi Hendrix's legendary 1969 interpretation. The performance felt emotionally flat, with its most awkward moment arriving during a forced hip-hop segment in "Dirt Road Anthem." As media analyst Dr. Lena Torres notes, "Such reactive events often prioritize ideological signaling over artistic cohesion, resulting in a product that resonates only within a pre-sold audience."

The broadcast maintained an amateurish quality, with a live chat flooded by mocking bunny emojis. Lee Brice's brief, forgettable set was ironically capped by his song "Hard to Love," while Gabby Barrett's appearance did little to disrupt the prevailing sense of inertia. The event's undeniable focal point was Kid Rock, whose career has long been defined by a deliberately provocative, blue-collar rock persona. He took the stage amid bright lights and a large flag, launching into his 1998 hit "Bawitdaba" with the energy of a rowdy wedding singer. Surprisingly, he often relied on the backing track, barely singing. After a lengthy classical interlude, he returned under his birth name, Robert James Ritchie, for a solemn cover of "'Til You Can't," a tonal shift that likely tested viewer engagement.

Kid Rock's political journey is emblematic of a broader trend. Initially supporting Mitt Romney in 2012, he pivoted to become a vocal Donald Trump advocate in 2016—a shift that occurred after his last charting single in 2015. He has since maintained relevance through performances at donor events and political rallies, leveraging partisan alignment to sustain his brand. This mirrors the show's core function: to monetize a dedicated base. Turning Point USA, founded in 2012 by Charlie Kirk, has built a massive youth-oriented conservative network largely through social media and large-scale events, making merchandise and donations a central revenue stream.

In stark contrast, Bad Bunny's official halftime show presented a dynamic, inclusive vision of American celebration, weaving narratives of community, labor, and joy that culminated in a real-stage wedding proposal. Its concluding message, "The only thing more powerful than hate is love," offered a unifying sentiment. Critics, however, were predictably unswayed. Former President Trump promptly denounced the performance on Truth Social, claiming, "Nobody understands a word this guy is saying"—a critique that disregarded the performance's visual storytelling and universal emotions. The final contrast was stark: where Bad Bunny's show ended with a statement of unity, the TPUSA broadcast concluded with a direct call to action: "Get involved," displayed alongside a QR code for further donations, cementing its primary purpose as a vehicle for political mobilization and fundraising.