This news has been read 4761 times!
LOS ANGELES, Feb 8, (Agencies): Perhaps it was inevitable, in an era of “Full House” reboots, nostalgia for the early Obama Era, and highly publicized reunions of bands not five years disbanded, that we would get a Super Bowl Halftime Show Tribute to Recent Super Bowl Halftime Shows. That’s certainly the easiest way to sum up Super Bowl 50’s hyperactive slurry of musical half-thoughts, busily choreographed kitsch, irreconcilable tonal shifts and, periodically, brief snippets of quality music best experienced as a series of GIFs. Despite Coldplay’s status as the nominal headliners, a mid-set invasion from Beyonce and Bruno Mars brought the only thing approximating heat, while a closing clip reel of recent halftime highlights — from Paul McCartney to Bruce Springsteen and Michael Jackson — only served to underscore the senselessness of the whole endeavor.
Coldplay, first announced as the halftime headliner back in early December, is not a popular band in certain cred-obsessed corners of the Internet. They are, however, arguably the only mass-appeal pop-rock act not yet eligible for Social Security that could make a reasonable claim to the sort of universality that has become the gig’s primary pre-requisite, so their booking certainly made sense. Yet with the far flashier Bey and Mars — both of whom turned in solid halftime slots in recent years — announced as secondary performers shortly thereafter, Coldplay seemed resigned to politely allowing themselves to be played right off their own stage.
The band’s quick, four-song medley opened the set mid-field, accompanied by some Up With People-style choreography, but with knowledge that the bigger guns were yet to come, they ultimately felt like an opening act. (Although, to Coldplay frontman Chris Martin’s credit, he at least made an effort to introduce some tiny glimmers of rawness into an inevitably canned performance, allowing several audience members to sing into his mic.) The quartet hardy had a moment to catch their breath, however, before the cameras swiveled over to the right, where Bruno Mars, Mark Ronson and a posse of leather-clad dancers slammed through a good 90 seconds of “Uptown Funk,” with a soupcon of James Brown and Morris Day thrown in for good measure.
Then, of course, it was over to Beyonce on the other side of the pitch. As evangelically, performatively worshiped on social media as Coldplay are snarkily dismissed, Bey gave an arresting, drill-squad-style rendition of her just-released single, “Formation.” Offering the show its only shiver of sex appeal, only shot of menace, and only ghost-note of political engagement, Beyonce was clearly inhabiting a different, far cooler planet than Martin, Mars & Co, but before even she could hit her groove, we were back to center stage. The motley crew then crooned an almost post-musical medley of “Fix You” with stray lines from halftime performances past, while the archival montage did all it could to make viewers forget they were supposed to be watching an actual live performance.
It was, in short, a mess, and all that was left at the end were the questions: Is it hopelessly old-fashioned to wonder if Coldplay wouldn’t have been better served simply playing a song or two in their entirety, rather than trying to cram as many orphaned choruses as possible into a short frame? (Kids these days may not have time for full LPs anymore, but surely they can handle a complete three-minute pop song without changing channels, no?) If Mars is one of the only truly old-school, razzle-dazzle song-and-dance men of his current generation, why not simply let him play every year? And as theoretically admirable as it was to see Beyonce bring a bit of meaning to her return to the Super Bowl spotlight — her dancers were outfitted in Black Panther chic, with “Formation’s” lyrics offering sly rebukes to race-based beauty standards — how much did the political subtleties of her performance really register amongst the portions of CBS’ viewership who didn’t already know to look for them?
Prior to the start of the game, Lady Gaga continued into year two of her mission to prove to everyone’s Midwestern aunt that she really can sing, delivering a strong, classy, brassy take on “The Star Spangled Banner.”
Coldplay and Beyonce went both retro and inspirational on Sunday as they put on a colorful Super Bowl halftime show full of flowers and happy children.
With more than 100 million people estimated to be tuning into the Super Bowl, likely the top US television event of the year, Beyonce was ensured of maximum exposure.
The 40-date tour of stadiums across North America and Europe will open April 27 in Miami and close July 31 in Brussels, Beyonce’s promoters announced shortly afterward.
Beyonce, who had been relatively quiet in 2015, on the eve of the Super Bowl released a new song, “Formation,” a hip-hop-driven track with a theme of racial pride.
Beyonce put on “Formation” at the Super Bowl, backed by a synchronized squad of dancers in matching black leather bodysuits with golden highlights.
She took over the show from Coldplay, who paid tribute to the Super Bowl’s host city of San Francisco with a stage that flashed in the tie-dye of the city’s 1960s counterculture as dancers on the field hoisted giant flower shapes.
The show ended with the stars together on stage as spectators in the stands held up colorful cutouts to read out the words, “Believe in Love.”
Coldplay also pursued a fascination with India. The British rockers together with Beyonce recently released an Indian-themed video for “Hymn for the Weekend,” eliciting much negative feedback on social media from Indians who found the imagery cliched.
Coldplay decorated the Super Bowl stage with marigolds and wrote the band’s name in Hindi on their amplifiers and drumset.
Singer Chris Martin raced onto stage singing the upbeat Coldplay track “Viva La Vida” as the Youth Orchestra Los Angeles, led by Venezuelan maestro Gustavo Dudamel, enthusiastically ran in with him.
Furthering the theme of youth, Martin sang to a crowd full of bouncy youngsters whose screams threatened to drown him out as he reached down from the stage.
While Beyonce’s appearance was an open secret, the Super Bowl stage featured one surprise — Mark Ronson.
The English artist led his hit “Uptown Funk” as Bruno Mars — who in 2014 had been the Super Bowl halftime headliner — re-emerged to lead an urban-style dance crew.
This news has been read 4761 times!