What songs will Bad Bunny perform at the Super Bowl? Heres our dream setlist.

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

With that level of cultural gravity, every move feels intentional. Throughout his rise, the 31-year-old rapper has centered his Puerto Rican identity even as his audience went global. In a moment when immigration is once again a flashpoint in American culture — underscored by his recent anti-ICE remarks at the Grammys — that commitment feels sharper than ever.

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

Here are some of our picks.

"NUEVAYoL"

Kicking things off with the standout opening track from his Grammy-winning album Debí Tirar Más Fotos feels like the obvious move. "NUEVAYoL" sets the tone immediately: confident, nostalgic, and rooted in his story.

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 snapping into Bad Bunny’s modern, dembow-driven sound. It's a celebratory collision of island roots, Nuyorican legacy, and Benito's global pop ambition — the perfect bridge between Latin America and the U.S.

"BAILE INoLVIDABLE"

Translated to "unforgettable dance," this six-minute salsa centerpiece frames life as a fleeting party — one that must eventually end, so you might as well make it memorable. Built on rich piano lines, trumpet flourishes, and layered vocals, the track pays tribute to classic salsa with a big-band feel.

Its inclusion in the Super Bowl halftime show teaser, set to him dancing alongside others beneath a vibrant Flamboyán tree, signals that this moment will be as much about cultural celebration as it is about perreo: heritage and spectacle folded into one stadium-sized performance.

"Tití Me Preguntó"

Built around a frantic dembow beat and rapid-fire name-checking of fictional girlfriends, "Tití Me Preguntó" finds Bad Bunny leaning fully into his bravado. It's playful without feeling disposable, absurd without losing precision, and it's a dancefloor burner.

The track is also one of the defining hits from his 2022 album Un Verano Sin Ti, which made history as the first all-Spanish album to become the most-streamed project globally. More than just a viral moment, "Tití Me Preguntó" captures his ability to turn internet energy into stadium-sized bangers. It's loud, fast, and designed to send a crowd into instant motion.

"Callaíta"

"Callaíta" is Bad Bunny in soft-focus mode. Built on breezy production by Tainy, the song captures the tension between public composure and private desire. On the Super Bowl stage, it would offer a rare breather: a moment of intimacy and atmosphere amid the noise. Not every halftime set needs to sprint. Sometimes, control is the flex.

"DÁKITI"

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

It’s a crossover without compromise: Spanish-language, minimalist, and globally dominant. In a halftime context, “DÁKITI” would read as a reminder that he rewrote the rules of what mainstream could look and sound 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, chant-alongs, 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 lurking in the mix.

While past legal disputes over its samples (especially its heavy use of Missy Elliott's "Get Ur Freak On") once made the track difficult to perform, those issues have since been resolved — clearing the way for its full, glorious chaos 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 U.S. 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 U.S.

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

"La Romana"

OK, this is a bit of a wildcard, but if Bad Bunny wants to throw it all the way back to his first studio album, 2018's X 100pre, then "La Romana" would be a fuego choice. The song finds him trading verses with Dominican dembow titan El Alfa, flitting between Latin trap and straight-up dembow energy. This song would go crazy with some pyrotechnics.

"Caro"

Alternatively, he could pivot to "Caro" and bring out Ricky Martin, who featured on the track, for good measure. The pairing would instantly register with U.S. audiences (and elder millennials), linking Bad Bunny's generation to one of Puerto Rico's most recognizable global exports.

More importantly, "Caro" remains one of his boldest early statements: a playful, defiant anthem about self-worth, gender expression, and the refusal of respectability politics. Alongside Ricky Martin — one of the most visible queer Latino pop stars in history — the moment could become a powerful celebration of unapologetic self-definition on the most mainstream stage in American entertainment.

"EoO"

"EoO" is pure, unfiltered reggaetón, a Grammy-winning banger for Best Global Music Performance that leans into the roots of perreo itself. The title plays off the last 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-ready energy, it’s exactly the kind of song that could give the halftime show a kinetic high point.

"CAFé CON RON"

Is this wishful thinking? Maybe. But the plena ensemble Los Pleneros de la Cresta would be an excellent addition to the Super Bowl stage.

With Afro-Puerto Rican plena rhythm and call-and-response energy, the track feels communal and jubilant, like a street block party brought to life. 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. Its presence on the set would be a full-on cultural assertion, threading century-old rhythms into the halftime frame.

"DtMF"

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

It's also built to be sung out loud. Through its lively interplay of rhythm and chant, Bad Bunny turns remembrance into celebration, transforming nostalgia into something communal. After all, it's a sentiment we all can relate to. On a Super Bowl stage, it would land with the force of a mass singalong, turning private memories into a shared, stadium-wide release.

"La Borinqueña"

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 where he comes from and why representation at this scale matters.