
THE FIFA World Cup 2026 introduced a new tradition on soccer’s biggest stage with the first FIFA World Cup Final Halftime Show, turning New York, New Jersey’s stadium into a global musical event during the championship match. Produced by Global Citizen in association with Live Nation and Done + Dusted, the 11-minute spectacle supported the FIFA Global Citizen Education Fund, an initiative dedicated to expanding access to quality education and sports for children in underserved communities around the world. The fund has already raised more than $60 million, with one dollar from every World Cup ticket contributed to the campaign throughout the tournament.
Coldplay frontman Chris Martin He served as the international curator of the halftime production, bringing together artists from multiple generations and musical backgrounds for a show that draws on soccer’s global reach and cultural influence.

Madonna opened the historic show with a dramatic entrance through the stadium tunnels, riding a dune driven by Brazilian football legends Ronaldo and Ronaldinho. She performed a reimagined version of her 2000 hit, weaving in elements of The Tramps’ Disco Inferno before introducing Danceteria, a track from her latest album Confessions II. The performance bridged two decades of her career while setting a dynamic tone for the evening.

Production shifted from pop to orchestral performance as conductor Gustavo Dudamel led musicians from the New York Philharmonic and Venezuela’s Simón Bolívar Symphony Orchestra through a performance of the White Stripes’ Seven Nation Army. Iranian violinist Bijan Mortazavi joined the ensemble along with members of The Electric Mayhem from The Muppets, creating one of the most unexpected musical collaborations of the evening.

BTS Dynamite followed, specially adapted with football-inspired lyrics for the occasion. The performance came just hours after the band completed a sold-out concert at Paris’ Stade de France, the venue that hosted the 1998 FIFA World Cup final. Their performance highlighted the scale of the band’s current world tour, which returns to the same New Jersey stadium on August 1.
Football culture entered the show through a surprise appearance by Jason Sudeikis and Brendan Hunt, returning as Ted Lasso and Coach Beard before introducing us Justin Bieber. Bieber performed an intimate reinterpretation of his 2025 song Everything Hallelujah, adding lyrics inspired by the World Cup and the occasion.

The pace picked up once again as Shakira and Burna Boy took to the stage with Dai Dai, the official anthem of the FIFA World Cup 2026. Wearing Roberto Cavalli, Shakira returned to the World Cup stage for a fourth appearance at the tournament, alongside Uganda’s Ghetto Kids, whose choreography brought extra energy to the stadium.

One of the show’s most moving moments came through archival footage of Pele’s final professional appearance at the original Giants Stadium in 1977. Speaking to the crowd, the Brazilian icon declared: “I think love is the most important thing we can get from life,” before leading the audience to repeat the word three times. The tribute had particular significance as it marked the first FIFA World Cup since Pele’s death in 2022.

The finale brought together the PS22 Chorus, Sesame Street characters, The Muppets and performers from across the production for We Dance, a new song written by Coldplay especially for the event. Fireworks filled the New Jersey skyline as Argentine broadcaster Andrés Cantor delivered his signature “GOL!” call, while stadium screens showcased Believe in Love, a new initiative encouraging acts of compassion and support for communities around the world.
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Beyond its entertainment value, the opening half of the FIFA World Cup Final has created a new platform where music, charity and football intersect. Combining performances from internationally acclaimed artists with a fundraising campaign to support education and youth sports, FIFA and Global Citizen used the tournament’s largest audience to highlight a cause that extends far beyond the final whistle.





