For Bad Bunny’s halftime show, the design called for immersive storytelling and dynamic, large-scale scenic staging that felt authentic and grounded. Using a layered staging approach, each element was designed to serve multiple performance moments while operating within the tightest timeline in live event production.
The overall set footprint measured more than 192′ by 75′, all loaded onto 22 trucks and rolling in on 24 custom field carts and 18 smaller 4′ by 8′ carts. A build of this scale required precision, lightweight construction, and careful coordination across a living playing surface that had to be game-ready just minutes later.
The production was delivered in collaboration with Bruce Rodgers of Tribe, Inc. and Bad Bunny’s creative team, including Harriet Cuddeford and Yellow Studio. Working closely together, we translated the design into field-ready staging elements built to meet performance, structural, and field requirements.
Set Elements: Realism at Scale
The design leaned into realism, with scenic elements that needed to feel substantial without exceeding strict cart-count and weight limitations. Every scenic piece was custom fabricated to balance authenticity with mobility and efficiency, an ongoing halftime challenge that—after 16 years—we have down to a science.
All Access provided a variety of custom set pieces, including the Casita, the Wedding Stage, the power pole carts, the Ford truck, the Ricky Martin Stage, and various carts containing palm trees, grass, and sugar cane.
The Casita
Custom fabricated from the ground up on three field carts, the 24’ by 24’ Casita structure incorporated a custom-built trap door effect, as well as a Versa Star Lift, which elevated Bad Bunny to the rooftop performance platform.
The trap door effect delivered one of the show’s most dramatic moments, sending the headliner down through the Casita roof in a perfectly choreographed drop. The manually operated system was designed for precise trigger timing and was rated to support choreography and dancers prior to activation. Built-in safety locks and structural supports ensured stability until execution. Interior spiral stairs and functional doors were also integrated to allow talent to exit the interior.
Wedding Stage
The 48’ by 32’ Wedding Stage was the largest staging element of the show, spanning eight field carts and serving as a visual anchor for the performance.
The stage was custom-fabricated and hand-finished to achieve a hyper-realistic appearance. Custom architectural and scenic details, including curved steps and light posts, were incorporated to read authentically on camera while remaining efficient in weight and cart configuration.
The upper platform served as the setting for the wedding sequence, while four carts featured detailed NYC street facades built onto their sides, including Tonita’s Social Club and the barber shop. This multi-use configuration maximized storytelling and scale without increasing cart footprint, reinforcing the show’s layered staging approach.
Power Poles
Four power pole set pieces were custom fabricated across two field carts, with the poles rising nearly 17’ tall. Three of the poles provided aerial performance areas for acrobats, while one featured a grated performance platform for Bad Bunny. Each structure was scenic-fabricated and painted while housing the necessary structural systems to safely support performers at height.
Due to a height limit of 10’ in the stadium tunnel, the poles were engineered to fold down and then raise into position during setup using a manual crank, allowing for fast, reliable deployment.
Ford Truck
A classic 1970 Ford truck was sourced and converted into a performance-grade platform. The vehicle was structurally reinforced and modified to safely accommodate performers while maintaining its original silhouette and character and ensuring compliance with natural grass field requirements.
The truck sat directly on the field; therefore, it was modified with a field cart-style base with Versa Field™ Stage wheels for easy transport onto the field. We also built steps in the truck bed for rooftop access and added a rechargeable lighting package. The truck wasn’t just a prop—it was a stage in itself.
Ricky Martin Stage
All Access provided custom curved carts that formed the base of this stage (with the scenic mound platform provided by others). The carts were finished in painted plywood and featured integrated push bars, onstage shelving for tall grass, and soft goods covering the side faces for a clean presentation.
Plant Carts
Various carts transported and displayed the palm trees, grass, and sugarcane (all provided by others) that became a defining backdrop and recurring motif throughout the show.
The curved grass carts rolled in on four custom 8’ by 24’ field carts, providing tall grass accents downstage from the Wedding Stage.
There were five scenic palm tree carts dispersed around the set, each 12’ by 8’ with one palm tree that hinged down for transport and storage. Extra greenery rolled in on 4’ by 8’ carts, including 12 sugar cane carts and six tall grass carts, dispersed around the set.
Working in tandem with the sugarcane crew members, the various plant carts reinforced the show’s layered staging approach.
Venue Considerations
With this year’s production staged on the natural grass, field protection was a primary consideration. There are strict requirements not only around weight and surface impact, but also around the total number of carts permitted on the field. Both factors directly influence how the show is developed from the earliest planning stages.
To meet those standards, staging elements were built around our proprietary Versa Field™ Stage system. The system is designed around rapid deployment and utilizes pneumatic tires specifically designed to roll over natural grass and turf without impacting or damaging the playing surface, using 360-degree swivel casters to allow controlled maneuverability across sensitive areas.
The stadium layout introduced an additional logistical challenge: a ¾-mile push from the production compound to field position. The crew moved fully assembled, performance-ready carts that entire distance before transitioning onto the grass and beginning halftime deployment.
Pre- & Post-Game
Pre- and post-game staging was streamlined this year. The result was a clean configuration with integrated graphics and lighting and several custom additions, including handrails and plug decks. Compared to halftime, pre- and post-game felt straightforward.
That’s a Wrap
Thank you!
Halftime:
- Bruce Rodgers, Shelley Rodgers, Tribe, Inc.
- Desiree Perez, Roc Nation
- Dave Meyers, DPS
- Bad Bunny’s creative team: Harriet Cuddeford and Yellow Studio
Pre-Game:
- Bruce Rodgers, Shelley Rodgers, Tribe, Inc.
Post-Game
- James Massing, Live Nation UK
Local Crew
- Local 134 IATSE
