Behind-the-Build: Super Bowl LIX Halftime Show

The halftime set incorporated four key elements: the square stage, triangle stage, circle stage, and the X, alongside eight aerialist lamp posts and a massive ground cloth. This ambitious undertaking was a seamless collaboration with Bruce Rodgers from Tribe, Inc., and Mike Carson from Kendrick Lamar’s pgLang creative team.

Square Stage

The 44′ square stage, built on 11 carts, featured a unique open framing structure. The cart framing was built with wide aluminum verticals and generous spacing to allow for clearance between carts. This design enabled more than 30 performers concealed beneath the stage to move freely before emerging from the Buick Grand National.

To meet show requirements, we stripped down a genuine Grand National from 3,500 to 1,500 lbs. An angled mirror effect reflected the floor texture to visually conceal the access point where performers emerged between the cart and the car.

Additional features of the square stage included hidden doors in the upstage area and carpeted floors in the 50″ tall under-stage area for added comfort.

Triangle Stage

Comprised of six carts, the triangle stage featured a ramped design. Instead of sloping the cart frames, we added sloped boxes to the tops, streamlining the woodworking process. The lowest point of the triangle hinged up during transport for ground clearance and then hinged down during setup to rest flat on the field during the show.

Circle Stage

The circle stage consisted of ten carts and included a curved ramp leading up to a staircase. The curved design required meticulous planning and craftsmanship to ensure seamless integration.

The X

The X was an interactive element of the performance. Constructed using a jigsaw puzzle-like design, the base was precisely aligned on the field prior to showtime with a plywood guide. During the show, performers assembled the wall panels (48 in total!) into the base, guided by a self-aligning system.

The wall panels required perfect placement; the solution was tapered receivers on the base and a numbering system. To keep the panels light for easy handling, we made them from lightweight polycarbonate (with red-tinted vinyl) on aluminum frames, each weighing 23 lbs.

Extensive testing was conducted to perfect the X. We developed multiple panel prototypes to find the ideal material and aesthetic. Additionally, we evaluated five different connection systems to achieve the optimal balance of weight, precision, and alignment. (Fun fact: we created a second X base and extra panels for rehearsals.)

Final Touches

The square, triangle, and circle stages were wrapped in digitally printed vinyl to replicate the look of monolithic concrete structures.

Additionally, we integrated LED into the three stages and X base, with tunable RGBW LEDs in the channels along the perimeters, casting dynamic light upward to highlight the performers.

Lamp Posts

We fabricated eight 21’ lamp post carts that provided aerial platforms for performers. Each base was constructed from heavy steel and equipped with stabilizing jacks on all four corners. To fit under the goalposts during transport, we designed the lamp posts to fold down and then raise into position during setup.

For authenticity, we used real lamp post poles and heads. Additionally, we disguised lighting fixtures inside fabricated transformer boxes and concrete blocks. Grating was incorporated into the base as part of a fog effect for hazers and fans housed inside the base. Facing was applied after the lamp posts were in position to conceal the wheels.

Ground Cloth

The set featured a heavy-duty 8,800 ft² ground cloth, designed to stay in place during dance routines while easily rolling on and off the field. To achieve this, we reinforced the cloth with a stiff backing material and divided it into eight panels for manageable transport and rapid deployment. Two of the sections covered existing field graphics, providing a seamless visual presentation.

Precise Execution

A production of this magnitude demanded flawless precision. Every set piece had to be deployed with split-second accuracy within a tight commercial break. We assigned specialized teams to individual elements to ensure smooth and efficient placement, guaranteeing perfect alignment for lighting effects and choreography.

Built on 15 carts (and transported on 7 semitrucks) the multi-purpose stage system was designed to support three distinct configurations—for Opening Night, the pre-game event, and post-game ceremonies—with each configuration measuring more than 63’ wide. Thanks to our proprietary field turf wheels, the carts could easily roll into position, ensuring precise placement for each configuration.

Behind the scenes, a huge amount of creativity, innovation, and technical expertise went into making this new modular stage system a success. Every detail, from the structural integrity of the stage to the flexibility of its design, was meticulously planned to ensure it could meet the diverse demands of Super Bowl week.

Despite challenges such as wildfires in Los Angeles and inclement weather in New Orleans, the All Access team rose to the occasion.

This year’s Super Bowl demanded the highest level of technical design involvement in the company’s history. From initial designs to final execution, this project exemplified the expertise, creativity, and adaptability the entire All Access team brings to every event.

Halftime:

• Bruce Rodgers, Shelley Rodgers, Tribe, Inc.
• Desiree Perez, Roc Nation
• Dave Meyers, DPS
• Mike Carson, Dave Free and pgLang/Kendrick Lamar’s creative team
• Valtteri Laihanen, Kendrick Lamar’s creative team
• Cory Fitzgerald, Kendrick Lamar’s creative team
• Bryan Scheckel, Kendrick Lamar’s creative team

Opening Night/Pre/Post-Game:

• Ray Winkler, Stufish Entertainment Architects

Local Crews:

• Local 1 production carpenters and staging coordinators
• Local 39 cart leaders