A Moment of Intimacy in Usher’s Explosive Halftime Show
In a halftime performance that touched on over a dozen songs, R&B icon Usher delivered a raucous Atlanta house party alongside a stirring lesson in intimate showmanship at Super Bowl LVIII. The sleekly-dressed crooner took command of the mammoth Allegiant Stadium stage from the opening notes, mesmerizing with his silken voice and precision footwork. But amongst the explosive, crowd-rousing spectacle was a scene of unexpected stillness that cut through it all.
Minutes into the set, golden-throated songstress Alicia Keys emerged in a dazzling ruby jumpsuit, missed a note on her signature ballad “If I Ain’t Got You,” then regained her footing. As she wrapped up the first chorus, Usher’s hushed harmonies rang out as the camera pulled back, unveiling the two stars at opposite ends of Keys’ diamond-studded piano. The audience of 65,000 seemed to evaporate as Usher continued the song solo, his gentle, raspy voice echoing through the sudden hush. He and Keys joined once more for the final ethereal note before the lights flashed and the sonic floodgates reopened.
The rare quiet sequence exemplified Usher’s artistry – able to completely captivate both expansive crowds and audiences of one. While much of the show was engineered for maximum sensory overload, he never once lost his command of minutiae and connection.
Usher opened with a succession of his signature dancefloor scorchers like “Caught Up” and “U Don’t Have to Call,” flaunting his legendary moves across the tricky grass terrain. After a brief heartfelt tribute to family, he downshifted into a snippet of romantic ballad “Superstar” before a marching band exploded onto the scene for thumping club anthem “Love in This Club.” Alicia returned for a flirtatious duet of “My Boo” as they playfully twirled together.
As the show progressed, so did the party atmosphere. Legendary producer Jermaine Dupri amped up the crowd before Usher got steamy on “Confessions Part II,” then slinked through sexy slow jams “Burn” and “Nice & Slow.” Arriving at smash “U Got It Bad,” he entered into an extended routine with a microphone stand as his limber dance partner. Shedding his coat and blazer, he stripped to just diamond necklace and tank top by the song’s end – living up to the preshow warnings of “possible relationship issues.”
This was Usher in peak form – dazzling vocals and dancing in perfect lockstep. The show’s energy shifted as R&B songstress H.E.R. joined the mix with her soulful guitar for sensual jam “Bad Girl.” Soon, a squad of dancers on roller skates emerged, paying homage to Atlanta’s vibrant Black skating culture. Never one to be outshone, Usher himself skated onto stage in a sparkling racing jacket and fluidly kept pace with the troupe.
The show had officially become a full-blown ATL house party. Usher raced through snippets of more recent EDM-pop collabs like “OMG” with Will.i.am before legendary rapper Lil Jon appeared to drive the mania even higher. His raucous arrival heralded their iconic hit “Yeah!,” which first introduced crunk to pop audiences in 2004. Fellow ATL hip-hop royalty Ludacris was not far behind, sneaking in a few explicit couplets amidst the family-friendly event. The anthem still pulsates with a futuristic appeal nearly 20 years later.
In the exhilarating grand finale, the entire ensemble linked arms to lead the crowd in Atlanta’s signature moves – the stomp, the muscle, the thunderclap. “I took the world to the A!,” Usher proclaimed as he brought it all back home. In his musical mastery over both the intimate and the boundless lies his magic: the global and local unified at once. The closing scene was one of joyful musical mayhem, reminding all who the King of R&B reigns. After 30 legendary years, his throne still has no contenders in sight.
