Holograms, Hip-Hop, and Hybrid IP
Navigating the Multifaceted Intellectual Property Landscape in Kendrick Lamar’s 2025 Bowl LIX Halftime Show.
By Paul Omondi
Kendrick Lamar. A name synonymous with lyrical genius, cultural commentary, and avant-garde artistry. He’s not just an artist; he’s an architect of sound and spectacle, a curator of moments that transcend music. His 2025 Super Bowl LIX Halftime Show wasn’t just a performance — it was a masterclass in creative disruption and rebellion against the restriction of dictated social norms.
A seismic blend of hip-hop, high fashion, and high-tech illusions, Lamar’s set wasn’t merely about the beats. It was also about intellectual property in motion — copyrights, trademarks, image rights, and design patents colliding on the biggest stage in entertainment. Let’s break it down.
A Show for the Ages: When Hip-Hop Meets High Tech
The Super Bowl Halftime Show has evolved from a mere intermission to a full-fledged multimedia event. In the LIX edition, Kendrick Lamar took it to another level. Remember his viral on-stage holographic disappearance act back in 2022 at a concert to promote his Mr. Morales & the Big Steppers album? He took that trick and dialed it up to 100, seamlessly blending digital projections, immersive visuals, and live vocals into a performance that felt part concert, part science fiction.
From the moment Lamar stepped onto the stage, draped in a custom Martine Rose varsity jacket emblazoned with “Gloria,” it was clear this was more than just music. It was storytelling through every medium possible — fashion, film, and futuristic tech. And in an era where entertainment is as much about branding as it is about artistry, the IP stakes were higher than ever.
The Evolution of Live Performances in the Digital Age
The show exemplified the evolution of live performance — melding live vocals with sophisticated visual artistry, interactive digital projections, and collaborative performances that extended far beyond personal repertoire. The convergence of audio, visual, and technological elements introduces a series of legal and operational challenges, particularly when considering that each creative and technical component may be subject to its own set of IP rights.
Aptly, the theme of this year’s World Intellectual Property Day is ‘IP and Music: Feel the Beat of IP.’ And as the day approaches on 26 April 2025, it’s only fitting to skip a beat and take note for a moment, that the digital age demands a rethinking of how IP assets are protected and monetized, especially in events that command global audiences.
Navigating Copyright in a New Era
At its core, copyright law protects original works. However, Kendrick Lamar’s halftime show pushed the envelope by incorporating live improvisations, real-time digital enhancements, and transformative visual content. Each of these elements can potentially generate derivative works — content that borrows from or transforms original material, thereby raising questions about the extent and nature of copyright protection.
For instance, the incorporation of holographic visuals and digital overlays during the performance constitutes a new medium for artistic expression. These digital elements, including the projection of design- and trademark-protected works like video game controllers; while complementing the live musical performance, also raise issues regarding reproduction rights, synchronization rights (when paired with audio), and even potential conflicts with pre-existing works. Live broadcast rights, already a complex legal territory, are further complicated when digital recordings are disseminated globally via streaming platforms like Apple Music.
Legal Precedents and Licensing Challenges
Recent legal cases have started to address these complexities, often highlighting the need for updated licensing models that better reflect the realities of digital performance. The challenge lies in ensuring that all contributors — from the primary artist and supporting acts to the tech companies providing digital enhancements — receive appropriate recognition and compensation.
What happens when a musician uses elaborate digital overlays — like high-octane graphics, surreal animations, and even AI-generated remixes of classic beats for artistic expression? Or when their images are creatively layered into live-rendered video game sequences? Who owns the final product? Is it the musician? The graphic designers? The streaming platform broadcasting the show? It’s time for copyright lawyers to call for a huddle as the digital age forces the music industry to redefine ownership in ways we’ve never seen before. Comprehensive clearance and licensing agreements are no longer just essential, but imperative to protect individual IP rights and ensure that the final, composite work is legally sound.
Trademarked Identities: Beyond the Music
A Super Bowl halftime show is more than a showcase; it’s a brand-building machine. And Lamar knows his worth. By trademarking his name, he has secured legal control over its commercial use — protecting his likeness across merchandising, endorsements, and digital reproductions.
But Kendrick wasn’t the only brand in play. The NFL itself is a trademark fortress, from team logos to the very phrase “Super Bowl.” Every brand involved — from Apple Music to the luxury labels worn on stage — have carefully curated licensing agreements. The halftime show isn’t just a concert; it’s a high-stakes IP chessboard where every move is monetized.
The Power of Likeness
Beyond music and logos, the halftime show also highlighted the vital role of image and likeness rights. Image rights protect the commercial use of an individual’s persona, ensuring that their image is not exploited without proper authorization or compensation. In a performance that featured cultural icons like “Uncle Sam” as a patriotic symbol, as well as appearances by high-profile personalities such as Serena Williams and Samuel L. Jackson, managing image rights becomes a central concern.
Negotiating Star Power and Public Persona
For celebrities and public figures, their image is one of their most valuable assets. The performance’s global broadcast meant that any unauthorized use of these personas could lead to significant legal disputes and reputational damage. Ensuring that each personality’s image rights are properly cleared involve intricate negotiations, detailed contractual arrangements, and a comprehensive understanding of the applicable legal frameworks. This careful orchestration of image rights not only safeguarded individual interests but also helped maintain the integrity of the overall production.
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Collaborations and the Complex IP Ecosystem
Kendrick Lamar’s performance was a masterclass in collaboration. With guest appearances from artists like SZA and partnerships with influential brands such as Apple Music, the event epitomized the trend toward cross-industry collaborations. Each partnership brings its own set of IP considerations into the mix.
Collaborative projects often necessitate joint ownership or licensing agreements that define how various IP rights are shared. For example, when multiple artists collaborate on a single performance, questions arise regarding the rights to live recordings, merchandising, and subsequent digital reproductions. These issues are compounded when a performance incorporates pre-existing works, remixed content, or new arrangements, as is common in modern live shows.
Licensing and Revenue Sharing
From an economic perspective, the intricate IP network formed by these collaborations is essential for revenue generation. Detailed licensing agreements ensure that every party — from primary artists and featured performers to the tech companies enabling the digital experience — receives a fair share of profits. Such agreements are crucial in an era where content is consumed across multiple platforms, each with its own revenue model. The Super Bowl LIX Halftime Show is a good case study of how collaborative ventures can be structured to promote innovation while protecting IP rights.
Fashion, Design, and the Intersection of Art and IP
Kendrick Lamar’s halftime show wasn’t just a feast for the ears — it was a visual manifesto. His iconic outfit, styled by Taylor McNeill, featured custom Celine bootcut jeans and the now-iconic Martine Rose “Gloria” jacket, proving once again that fashion is its own language of rebellion. But fashion isn’t just style; it’s intellectual property.
The jacket itself, with its bold lettering and bespoke design, is a protected creative work. In the world of high fashion, brands fiercely guard their trademarks, preventing knock-offs and unauthorized reproductions. Every detail of Lamar’s wardrobe was curated for subliminal messaging, artistic impact and legal security — a walking billboard for cultural prestige interspersed with bursts of brazen expression.
Fashion Beyond Kendrick: The Ensemble of Star Power
The halftime show was not solely about Kendrick’s fashion. Featured artists and guest personalities, including those making cameo appearances, also made powerful visual statements through their attire. Each wardrobe choice was carefully curated to reflect personal style, brand alignment, and the overall thematic narrative of the show. For instance:
- Collaborating Artists’ Wardrobes: Guest performers often bring their own brand identities into the mix. The synchronization between their individual styles and the overarching visual motif of the performance reinforces a collective brand identity while necessitating separate IP considerations for each outfit.
- Styling and Image Rights: Celebrities are increasingly protective of their image rights. Every costume and accessory becomes a part of their public persona, which is legally safeguarded against unauthorized reproduction or commercial misuse.
Thus, the fashion element of the show was a multilayered IP exercise — balancing the rights of individual artists, fashion designers, and the event’s overall creative vision.
The Buick Regal GNX Integration
And then there was the Buick Regal GNX, a high-performance icon making a surprise cameo. Lamar has long been vocal about his love for the car — so much so that he named his latest album after it. The car debuted the same year he was born in 1987 and he was apparently drove in it home from the hospital by his dad. While it’s a personal tribute, its presence on stage also represents a strategic brand move. Featuring an automobile in a performance could require careful licensing, ensuring that the brand’s identity is preserved while allowing for creative freedom. It’s a reminder that in modern entertainment, even the props carry legal weight.
The Global Implications: IP Laws in a Borderless Digital Age
Lamar’s performance was a worldwide event, streamed across multiple platforms and dissected on social media in real time. But with international visibility comes a legal maze: copyright laws differ from country to country, and managing intellectual property across jurisdictions is a legal puzzle of its own.
As organizations like the World Intellectual Property Organization (WIPO) attempt to harmonize global IP laws, artists and corporations alike are navigating new frontiers in ownership and licensing. The halftime show was more than entertainment — it was a case study in modern intellectual property management. Policymakers, legal experts, and industry leaders must therefore work collaboratively to develop frameworks that are both flexible and robust.
The Future of Music, Branding, and Performance
The intersection of music, technology, and IP is a dynamic space where innovation often outpaces regulation. As live events become more ambitious in scale and complexity, the need for adaptable IP protections will only intensify. By examining landmark events like Kendrick Lamar’s 2025 Super Bowl LIX Halftime Show, stakeholders gain valuable insights into the interplay between artistic expression and legal safeguards — a relationship that is essential for fostering continued innovation in the entertainment industry.
This performance not only showcased the creative prowess of a generation of artists but also served as a clarion call for a re-evaluation of traditional IP frameworks. As evidenced by the rigorous negotiations involving brands like the NFL, corporate giants like Apple Music, and celebrated personalities ranging from Serena Williams to Samuel L. Jackson, the stakes are higher than ever when multiple IP domains converge in a single event.
Kendrick Lamar’s show wasn’t just a concert — it was a manifesto for the future of live performance. As the lines between physical and digital continue to blur, artists must become as savvy in intellectual property as they are in music.
From AI-generated visuals to branded collaborations, from trademarked personas to high-stakes licensing deals, the entertainment industry is no longer just about talent — it’s about legal foresight and strategic positioning. If Lamar’s halftime show taught us anything, it’s that the future of performance isn’t just about who’s on stage. It’s about who owns the moment.
