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International Headliners and Domestic Debate: The Future of the NRL Grand Final Show Sydney, Australia – The entertainment accompanying the National Rugby League (NRL) Grand Final has once again dominated headlines, shifting focus momentarily from the on-field battle to a fierce debate over cultural strategy, commercial ambition, and the role of Australian talent. The selection of American singer Teddy Swims to headline the 2025 Grand Final pre-game show—the centerpiece of the wider nrl-halftime-show spectacle—sparked controversy, intensified by the artist’s eleventh-hour health scare and an ensuing public war of words with a rival code. This episode underscores the increasing pressure on major Australian sporting bodies to balance the spectacle required for a global audience with the commitment owed to local arts and cultural identity. The NRL Grand Final is one of Australia’s most watched sporting events, and the accompanying musical performance is regarded by executives as a critical marketing tool, particularly for drawing in casual viewers and international audiences. For years, the event has been characterised by the tension between providing a 'stadium filler'—often a high-profile international act—and celebrating homegrown talent, a cornerstone of the league’s working-class roots. Unlike the American NFL’s Super Bowl, which features a highly produced, lengthy mid-game show, the NRL’s main entertainment segment typically occurs before kick-off, although the performance sets the tone for the entire event, including the brief halftime show intermission. The decision to install US artist Teddy Swims, celebrated globally for his multi-platinum hit ‘Lose Control,’ was viewed by the NRL administration as a strategic move to align with the league’s global expansion vision, specifically its recent push into the US market with fixtures in Las Vegas. This strategic choice was made despite strong public preference from some quarters for local rock legends. The controversy was amplified by the public commentary from ARLC Chairman Peter V'landys, who leveraged the Grand Final entertainment announcement to take a direct jab at the Australian Football League (AFL) over their selection of rapper Snoop Dogg for their own season decider.
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“We saw what the AFL got—what’s he called, Labrador or Poodle,” Mr V’landys stated, emphasizing the NRL’s choice of an artist renowned for vocal performance. “We had to get better than that. We actually got a vocalist. None of this doof, doof stuff. This bloke can actually sing. ” This statement, while providing immediate media traction, inadvertently framed the entertainment choice as a direct competition against the AFL, rather than a standalone cultural decision. NRL Chief Executive Andrew Abdo defended the choice, focusing on the artist's broad demographic appeal. “Teddy Swims is one of the most exciting music talents in the world, making him the perfect performer for the NRL Grand Final day,” Mr Abdo confirmed, referencing the artist’s ability to connect with diverse fanbases. “Teddy's global appeal and connection with young audiences in Australia, the US and around the world, matches our vision to grow Rugby League globally.
” However, the international selection immediately drew political and cultural scrutiny. Senator Sarah Hanson-Young, an advocate for Australian music, voiced strong criticism, arguing that major Australian cultural institutions should prioritize struggling local artists. “Another day, another iconic Aussie sport shipping in an international artist and ignoring our homegrown talent,” Senator Hanson-Young posted publicly. “Whether it’s the AFL or NRL Grand Final, an Australian performer should be taking the stage, not an American import. ” Her comments resonated with a section of the public who felt the NRL stage was an opportunity missed for celebrated figures such as Jimmy Barnes, who had previously indicated interest in performing. Adding drama to the lead-up, Swims was forced to cancel multiple tour dates in Hawaii due to illness, sparking concern within the NRL executive team that their headline act might pull out entirely just days before the event. This health crisis underscored the logistical vulnerability inherent in flying in global stars for one-off performances. Ultimately, Swims recovered and performed, delivering a set that included a cover of AC/DC’s iconic track, ‘TNT’, a nod designed to appeal to the Australian rock sensibilities of the core rugby league audience. The subsequent fan reaction to the performance was predictably divided.
While many praised Swims' vocal talent and the energy he brought, others criticised the performance structure, suggesting the inclusion of a cover song reflected a lack of suitable original material for a stadium setting, or simply lamented the absence of a truly Australian sound. Dr. Eleanor Vance, a cultural commentator specialising in sport-as-spectacle, suggests this constant friction is now the defining feature of the NRL's entertainment strategy. “The NRL show is no longer just about filling the fifteen-minute slot before or during the game; it’s about positioning the entire brand,” she explains. “They face a commercial imperative to attract global broadcast dollars, which necessitates internationally known acts. But they also risk alienating the dedicated local fans who view the Grand Final as a sacred domestic institution. ” In conclusion, the 2025 NRL Grand Final entertainment, headlined by Teddy Swims, proved to be a microcosm of the league's ambitious strategic direction. While the performance fulfilled the commitment to deliver a world-class vocalist and was viewed as a win for the league's global marketing objectives, the ensuing cultural and political commentary confirms that the balance between global spectacle and local reverence remains precarious. As the NRL continues its international push, the debate over who deserves the spotlight—a globally-streamed international star or a beloved domestic icon—is likely to be a recurring feature of the annual Grand Final build-up.
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