Tony “Chicago” Russell Makes Waves as Creative Emmy Winner

13 September 2025

Kendrick Lamar performs during halftime of the NFL Super Bowl 59 football game between the Kansas City Chiefs and the Philadelphia Eagles, Sunday, Feb. 9, 2025, in New Orleans. Matt Slocum/AP

Tony “Chicago” Russell has added another trophy to his shelf of accolades with a Creative Arts Emmy for his role as music director for Kendrick Lamar’s Super Bowl LIX halftime show. Russell, a bass player from Chicago, shared the honor with Lamar on September 6th and 7th during the 77th Creative Arts Emmy Awards. This is one of the high-profile wins for a program that earned seven nominations.

For Russell the recognition is both deeply personal and professional. As a musician who has worked with major figures like Usher, Jamie Foxx, and Jay-Z he said that his musical foundations in Chicago prepared him for stages large and small. He recalled how playing in church at First Corinthians Missionary Baptist Church where his mother is pastor taught him discipline, community and resilience.

The halftime show itself was a spectacle according to many observers. It was praised not just as a performance but as a cultural moment. The production was rich with visual drama, strong direction, and an emotional intensity that clearly resonated. One notable statistic from the show is its viewership: 133.5 million people watched the event across broadcast and streaming platforms in the United States. That makes it the most-watched Super Bowl halftime show in history.

As music director Russell’s contributions were central. The creative team worked to integrate powerful collaborators like Samuel L. Jackson performing as Uncle Sam, the presence of Serena Williams, guest vocals by SZA, and an ambitious staging that balanced theatrical elements and political commentary. Songs ranged from Lamar’s newer material to crowd-pleasing moments that pushed boundaries. The performance was visually striking and tightly choreographed.

For Russell the Emmy win felt “still surreal.” He spoke about the weight of the moment, how years of work, both visible and behind the scenes, culminated in this honor. It is another high point in a long career, one built steadily through mentorship gigs, arranging, producing and performing.

This achievement is also symbolic. It shows that in today’s media landscape behind-the-scenes roles are gaining recognition. Music direction, production, arrangement these functions often hidden behind performance are now acknowledged as critical to what makes a live show memorable. The Creative Arts Emmys spotlight precisely these contributions.

Russell’s win ties into broader conversations in entertainment about representation, about voices from outside the usual circles getting heard and seen. As a Black musician from Chicago he stands alongside other artists pushing boundaries both musically and culturally. His work on Super Bowl LIX underscores the power of big stages to elevate messages not just of spectacle but of identity.

Even as the applause continues Russell acknowledges the responsibility that comes with this moment. People expect more from those who succeed under pressure. Russell seems aware that his win might shift expectations for future shows to be more thoughtful, to push creative boundaries, and to use music as a bridge rather than just background.

For Kendrick Lamar the win adds another major honor to his career. It is his second Emmy, the first being for musical direction in the 2022 halftime show. That earlier win already put him in rare company; this latest affirms his position not just as a performer but as a creative force capable of shaping the sound, vision and impact of large events.

Fans, peers and music critics are using Russell’s win and Lamar’s show as a reference point. It is being held as a standard for how live televised performances should feel urgent, relevant, and rooted in authenticity. It shows that excellence in music direction is not optional when the stakes are high. When millions are watching every note every movement counts.

Russell’s story from church stages to the Super Bowl’s limelight, from local Chicago scenes to global broadcasting echoes what many artists hope for: a moment when craft, vision and opportunity converge. The Emmy doesn’t signal the end of the journey for him; rather it seems to mark a threshold. With what he has achieved the expectations are richer the impact deeper and the possibilities more expansive than ever before. And all eyes now turn to what comes next.