Bad Bunny Super Bowl halftime show: 13 songs we need to hear

It’s Bad Bunny’s world, and we all live in it. Or at least that’s how pop culture feels right now. After winning Album of the Year at the 2026 Grammys – a landmark moment for Latin music – and topping Spotify’s global charts for the fourth time in 2025 with 19.8 billion streams, Benito now heads to the biggest stage of all as the headliner of the Super Bowl LX halftime show on February 8, 2026.

With this level of cultural gravitas, every movement feels intentional. Throughout his rise, the 31-year-old rapper has centered his Puerto Rican identity even as his audience has gone global. At a time when immigration is once again a flashpoint in American culture – highlighted by his recent anti-ICE remarks at the Grammys – this commitment seems more acute than ever.

As Bad Bunny heads to the Super Bowl stage, the obvious question is simple: what does he choose to play when the whole world is watching? With a catalog that spans reggaetón, trap, pop and traditional island sounds, the possibilities for this 13-minute set are vast.

Here are some of our picks.

“NUEVAYOL”

Kick things off with the standout opening track from her Grammy Award-winning album Debi Tirar More photos it seems like an obvious decision. “NUEVAYoL” immediately sets the tone: confident, nostalgic and anchored in its history.

The track opens with a nod to Puerto Rican salsa history, sampling El Gran Combo de Puerto Rico’s 1975 song “Un Verano en Nueva York,” before segueing into Bad Bunny’s modern, dembow sound. It’s a celebratory collision between Benito’s island roots, Nuyorican heritage and global pop ambition – the perfect bridge between Latin America and the United States.

“BAILE INoLVIDABLE”

Translated to “unforgettable dance,” this six-minute salsa centerpiece depicts life as a fleeting party – one that has to end eventually, so you might as well make it memorable. Built on rich piano lines, trumpets and layered vocals, the track pays homage to classic salsa with a big band feel.

His inclusion in the Super Bowl halftime teaser, showing him dancing alongside others under a flamboyant Flamboyán tree, indicates that this moment will be as much about cultural celebration as it is about perreo: heritage and spectacle brought together in a single spectacle the size of a stadium.

“Tití Me Pregunto”

Built around a frenetic dembow beat and a quick name-check of fictional girlfriends, “Tití Me Preguntó” finds Bad Bunny fully leaning into his bravado. It’s playful without seeming disposable, absurd without losing precision, and it’s a dancefloor burner.

The track is also one of the defining hits from his 2022 album. A Verano Sin Tiwhich made history as the first all-Spanish album to become the most streamed project in the world. More than just a viral moment, “Tití Me Preguntó” captures his ability to transform the energy of the Internet into stadium-sized bangers. It’s loud, fast and designed to send a crowd into instant motion.

“Claita”

“Callaíta” is Bad Bunny in soft focus mode. Built on light production from Tainy, the song captures the tension between public calm and private desire. On the Super Bowl stage, it would offer a rare break: a moment of intimacy and ambiance amid the noise. Not all halftime sets require sprinting. Sometimes control is flexibility.

“DAKITI”

“DÁKITI” remains one of Bad Bunny’s coolest and simplest records. It’s a slow track anchored by its hypnotic beat, understated synths, and chemistry with Puerto Rican rapper Jhayco. The track is an electro-fused mix of house and reggaetón that pulses like a hazy club track and moves like a reggaetón anthem.

It’s an uncompromising crossover: Spanish-language, minimalist, and globally dominant. In a halftime context, “DÁKITI” would serve as a reminder that it rewrote the rules of what the mainstream could look like.

“Safaera”

A fan favorite for a reason, “Safaera” is chaotic in the best way. It’s a five-minute, genre-hopping monster that ricochets between reggaetón, old-school samples, chants and club mayhem. Featuring Puerto Rican reggaeton duo Jowell & Randy and Puerto Rican rapper Ñengo Flow, it plays like a DJ set compressed into one track, with a surprise Jaws sample hiding in the mix.

While past legal disputes over its samples (particularly its heavy use of Missy Elliott’s “Get Ur Freak On”) once made the track difficult to perform, those issues have since been resolved, paving the way for its complete and glorious mayhem on the Super Bowl stage. If Bad Bunny wants a moment that breaks the Internet in real time, this is it.

“I like it”

Perhaps his most visible American crossover to date, “I Like It” introduced millions of listeners to Bad Bunny’s voice and charisma alongside American rapper Cardi B and Colombian singer J Balvin. It also topped the Billboard Hot 100, becoming Bad Bunny’s first number one song in the United States.

Built on a boogaloo sample and brimming with personality, the track bridges generations and geographies: old school Latin, Bronx energy, and modern pop in one package. A guest appearance, especially from Cardi B, would add another layer of star power to an already massive ensemble.

“The Roman”

OK, it’s a bit of a wild card, but if Bad Bunny wants to go back to his first studio album, 2018’s X 100prethen “La Romana” would be a fire choice. The song sees him trading verses with Dominican dembow titan El Alfa, oscillating between Latin trap and pure dembow energy. This song would go crazy with some pyrotechnics.

“Caro”

Alternatively, he could pivot to “Caro” and bring out Ricky Martin, who was featured on the track, for good measure. The pair would instantly register with American audiences (and older millennials), connecting Bad Bunny’s generation to one of Puerto Rico’s most recognizable global exports.

Most importantly, “Caro” remains one of her boldest early statements: a playful and defiant anthem about self-esteem, gender expression, and refusing respectability politics. Alongside Ricky Martin – one of the most visible queer Latin American pop stars in history – this moment could become a powerful celebration of unapologetic self-definition on American entertainment’s most mainstream stage.

“Eoo”

“EoO” is pure, unfiltered reggaetón, a Grammy Award-winning banger for Best Worldwide Musical Performance that draws on the roots of perreo itself. The track plays on the final syllables of perreo, and the track’s dirty beat and relentless groove make it an anthem for any crowd ready to dance.

With its effortless swagger and club-worthy energy, it’s exactly the kind of song that could give the halftime show a kinetic climax.

“CAFé CON RON”

Is this wishful thinking? Maybe. But the ensemble plena Los Pleneros de la Cresta would be a great addition to the Super Bowl scene.

With an Afro-Puerto Rican plena beat and call-and-response energy, the track feels communal and jubilant, like a bustling block party. With its title literally meaning “coffee and rum”, it evokes simple everyday morning rituals and the island’s rich musical heritage as much as it does a good time. His presence on set would be a cultural statement in its own right, inserting century-old rhythms into the halftime show.

“DtMF”

For the sentimental types, you probably heard “DtMF” all over your TikTok FYP last summer. (Bad Bunny’s emotional reaction to the trend has racked up 189 million views on the app.) Short for Debí Tirar Más Fotos (“I should have taken more photos”), the track is both introspective and uplifting — a meditation on cherishing the time you spend with people and, in some cases, places.

It is also designed to be sung out loud. Through his lively play of rhythm and song, Bad Bunny transforms memory into celebration, transforming nostalgia into something communal. After all, it’s a feeling we can all relate to. On a Super Bowl stage, it would land with the force of a mass chant, transforming private memories into a shared stadium-wide broadcast.

“La Borinqueña”

It’s not a Bad Bunny song, but including the Puerto Rican national anthem “La Borinqueña” in his set would be a powerful statement and a nod to his origins and the importance of representation on this scale.