Katy Perry Shines at the Super Bowl

Given the agonizing over air pressure that has racked the N.F.L. in recent weeks, it was appropriate that the halftime entertainment at Super Bowl XLIX was Katy Perry, a queen of our deflated pop times.

 Ms. Perry is a Technicolor cipher, a singer who takes on the shapes and tones she is given with aplomb and cheer but maybe not wit. That hasn’t hampered her success — her “Teenage Dream” of 2010 (Capitol) was the first album by a female artist to land five songs atop the Billboard Hot 100, and her 2013 album “Prism” had two thunderous hits. Ms. Perry is a pop perennial, one of the few left.

And the Super Bowl halftime show is a massive stage, one that requires the sort of pop stars that aren’t being minted regularly anymore, ones with wide cross-demographic appeal. In this environment, Ms. Perry will do.



Patriots 28, Seahawks 24: Patriots Win Super Bowl XLIX, Defeating SeahawksFEB. 1, 2015 Perry cheering for Mississippi during a telecast of ESPN's College GameDay at the University of Mississippi before a game in October against Alabama.Katy Perry Touches Down in Football FandomJAN. 29, 2015

During her 12 or so minutes on the University of Phoenix Stadium field on Sunday, she held her own, navigating a handful of her smashes and three wardrobe changes in a performance that resisted bad mood, spanning all of Ms. Perry’s modes: the triumphant “Roar,” the spooky “Dark Horse” (sadly without the rapper Juicy J), the chipper “California Gurls,” the beacon of pure uplift “Firework.”
Ms. Perry generally doesn’t move much onstage, so she was presented in a series of setups that masked that fact — atop a pseudo-tessellated mechanical lion, among a sea of dancing chess pieces and attached to a shooting star hoisted high above the field.

And she was gifted with guest artists who provided her with strategic cover. Take “I Kissed a Girl,” a dim song about experimenting with bisexuality that was Ms. Perry’s first Billboard Hot 100 chart topper, in 2008. She sang it in duet with Lenny Kravitz, who opened the song, presumably to help the subject matter go down more easily for unprepared, unforgiving viewers.

After about a minute of shouty singing and guitar angst, Mr. Kravitz was gone, leaving barely a mark, having been on stage largely to soften that song and to reassure those who still require the sight of a guitar, even one not plugged into anything.

Ms. Perry benefited far more from her second guest, the rapper Missy Elliott, long out of the spotlight but still easily the most modern-sounding artist on the stage. She ran a speed course through three hits — “Get Ur Freak On,” “Work It,” “Lose Control” — and easily doubled the energy onstage.