When Brantley Gilbert came out to explain why he would be performing at an alternative halftime show during the Super Bowl, there was a lot of talk on social media. It wasn’t the fancy, multi-tiered show that usually goes along with the game; instead, it was a smaller stage set up by Turning Point USA. Gilbert posted a short but passionate note on X, Instagram, and Threads, saying that his participation was part of a wider discourse about representation, family, and artistic identity.
He stated, “It’s been more than 20 years since a country artist has been asked to play the Super Bowl halftime show.” This sentence struck a chord with fans who have long believed that their genre was ignored during the largest American football event. In the past, just two country music performances have filled that prominent spot: a halftime show featuring Shania Twain in 2003 and a “Rockin’ Country Sunday” set in 1993 that included a number of country musicians. Besides those, the most obvious Super Bowl presence in recent years has been through national anthem singers. Reba McEntire, Chris Stapleton, and Mickey Guyton, for example, all sang the national anthem with great clarity and emotional weight.
Brantley Gilbert – Artist Profile
| Category | Details |
|---|---|
| Name | Brantley Gilbert |
| Profession | Country Music Singer-Songwriter |
| Recent Album | Tattoos (charted on Billboard Country Albums, 2024) |
| Career Milestones | Five No. 1 Country Airplay Singles (2011–2019) |
| Hometown | Jackson County, Georgia |
| Known For | Southern rock sound, gun rights advocacy, Christian themes, recovery journey |
| Recent Spotlight | Alternative Super Bowl Halftime Performance via TPUSA |
| Public Statement | Emphasized unity, family, and long-overdue country music representation |
| External Reference |
Gilbert made it obvious that his choice was not just a protest, but also for his family and himself. “I was given this chance and thought about how my kids would feel watching their dad perform at halftime during the biggest game in American football,” he wrote. “Everything I do is for them.” That sentiment made people feel sorry for people who could remember a childhood show, a parent’s pride, or a performance that became a shared memory. It’s nice to have an artist talk about his reasons for doing what he does outside career calculus, especially when those reasons are based on being there for his kids instead of pursuing the shine of a public spotlight.
But the response was not the same for everyone. Critics said that appearing “during” the Super Bowl is not the same as performing “at” the Super Bowl’s nationally televised halftime show. Some comments were funny, but others were harsh. For example, one person said, “If I run out to my front yard and scream a song into the street, I have performed at halftime of the Super Bowl in the same way you have.” Another person tweeted, “Nothing says UNITED like doing a SEPARATE show.” Those answers show what’s going on in the world right now, where gestures meant to bring people together can, without meaning to, make divisions worse depending on how they’re interpreted and the situation.
People talk about togetherness in a way that is ironic. Gilbert said, “I’m not playing this show to be divisive,” which is a sentiment that has been around in pop cultural disputes for years. But just joining an organization with a clear political identity will change how people see you. This is a reminder that artistic gestures are rarely understood on their own; they are always seen as part of a larger context when they are made public.
I remember talking to a music promoter who once said, “Music doesn’t belong to a brand, but brands sure want to claim it.” That has always stuck with me because it shows how quickly performance gets mixed up with story compared to melody.
Putting politics aside for a moment, this alternative performance may be seen as a moment of reclamation—a chance for country singers, who don’t frequently get a lot of attention at big mainstream events, to shine in a very public way. It’s also a chance to recognize how long the genre has been around, how deeply emotional its language is, and how committed its fans are, who are used to singing about feelings that range from tough grit to soft confession.
Gilbert’s personal life story fits into this frame. He was up in a tiny town in Georgia and has talked publicly about his own journey of recovery, spirituality, and artistic growth. That blend of being open and having strong beliefs is part of what made his ascension interesting. It’s also how he talks about his goals now. The thought of performing for his kids, not for critics or hashtags, felt more real than fake.
Gabby Barrett, Lee Brice, and Kid Rock were all on the alternative lineup with Gilbert. Each musician brought their own style. Barrett has a sophisticated country sound and powerful vocals; Brice has the pulse of a seasoned storyteller; and Kid Rock, who is always controversial, adds an intensity that crosses genres and is based on Southern rock and attitude. They make up a set that, while not typical, is clearly unified in how it shows off American musical styles that appeal to people of all ages, locations, and identities.
Some others openly asked if this event would speed up the discussion regarding who should headline the official halftime show. Some people thought of it as a separate moment that was interesting but not important to the main performance of the game. No matter how you look at it, this alternative stage seems to have prompted bigger issues about access, inclusivity, and the criteria that mainstream events use to choose their musical ambassadors.
Gilbert has had a lot of professional highs, including many number-one hits and a lot of touring. His most recent album, Tattoos, landed on the Billboard country albums chart, which shows that he is still quite creative and has a lot of ideas. In that sense, playing outside of the usual spotlight is not a sign of weakness but an artistic option—a choice to take on a character that fits with his own story.
This moment is more interesting than just a protest because it offers up new ways for performance and identity to work. When artists go beyond the borders of approved stages, they make people think about tradition and change. They make us think about how platforms are chosen, who may use them, and what audiences think is important.
This discourse, even with snarky comments on social media and cultural criticism, is about making more chances, not closing them. It implies that the discourse around significant events, such as the Super Bowl, should not be fixed. It can change, expand, and become more open to different types of music and voices, especially those who appeal to large, passionate audiences.
