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‘KPop’ Wins at 2026 Grammy Awards: Zooming in on the ‘Golden’ Trophy

Thoughts on the larger media story developing alongside the too-hot-to-stop KPop Demon Hunters anthem

“It came true” 🥲

I’m brought back to Anne Hathaway’s Oscar acceptance speech when I think about “Golden” winning the Grammy Award for Best Song Written For Visual Media. Any Grammy nomination — and any Grammy win — is an honor and major achievement when you’re coming in as an underrepresented outsider, operating mostly outside the country of the world’s largest music industry, and working across multiple languages, cultures and backgrounds.

“Golden” is being touted as making history for K-pop as the first time the music scene has been recognized with a Grammy award after the likes of BTS earned multiple nods through the years with BLACKPINK’s Rosé and HYBE’s global girl group created in the K-pop style KATSEYE earning multiple nominations for 2026. Like all of the artists above, “Golden” is also a somewhat tricky case when we consider what makes a K-pop song. Many times people opt to call it the “K-pop genre” but genre tends to encompass a signature sound, instruments and style (e.g. rock music has guitars, classical music is orchestral) but K-pop at its core is not defined by one sound, but instead by mashing multiple influences and styles into one accessible piece of pop music with it all coming together to be released in Korea via Korean creatives and teams.

A large part of the “Golden” success stems from its DNA and composition. Teddy, K-pop’s legendary producer behind hits for BLACKPINK, PSY and G-Dragon, to name a few, was at the helm of much of the KPop Demon Hunters soundtrack, bringing along his crew of creatives for songs like “Golden.” While EJAE trained for a decade to become a K-pop star, she ultimately never made a debut and instead pursued her journey through songwriting, penning massive K-pop hits for the likes of TWICE, Red Velvet, aespa, and more. Composer and songwriter Mark Sonnenblick, whose work has appeared on Broadway and major movie soundtracks, was also on board. All these parts coming together have the makings of a hit K-pop song for a movie soundtrack.

And yet “Golden” was “released” by an animated group in a movie where the voice actors for HUNTR/X (Arden Cho, May Hong and Jiyoung Yoo) were different than the singing voices (EJAE, Audrey Nuna and Rei Ami). You could see some stumbling as the film and partners like Republic Records tried to figure out which stars would be best to promote the film and song, and I think the right choice was made by pushing EJAE, Audrey, and Rei as a trio. But they’re ultimately not a group together and I think all three women have been quite strong in their stance that they stand on their own as soloists as much as they do as a group singing this song. The promotional strategies were notably not classic K-pop, despite the creative points being so. The song being mostly English feels less important as a point in what defines K-pop today, too, since there are a few lines in Korean.

Overall, “Golden” has felt like a crossover K-pop song from the get-go in terms of being crafted to specifically reach beyond the traditional audience with its success in doing so only growing as things really took off with KPop Demon Hunters.

And most media outlets are, rightfully, celebrating “Golden” as a historic moment for K-pop representation — I can’t really argue with the New York Times — but there CNN and the Associated Press are also including other perspectives, with Professor Areum Jeong, the assistant professor of Korean Studies at Arizona State University and friend to The Crossover, deeming the Grammy nominated songs as “de-territorialized, hybrid idea of K-pop.” Which feels apt.

I think EJAE also brought a beautiful tone when speaking about the song’s win backstage in the Grammy Awards press room: “It’s so incredible to have the song ‘Golden’ being sung all over the world, singing the Korean lyrics word-by-word, it means so much. I think this award is about that: representation. Today’s about celebrating culture and music that unites all cultures.”

The K-pop crossover isn’t ending anytime soon — thus, the point of this entire newsletter — and this Grammy win might have just unlocked a world where we are seeing more and more projects have a “K-pop” base but ultimately begin the journey on a more international plane from the start rather than watching it happen via a happy accident.

Check out the media story for “Golden” at the Grammys below with some additional great pieces from NPR’s “How the West Was Won: K-Pop’s Great Assimilation Gambit” and Notes on K-Pop’s “2025 Ends With K-Pop Overlooked by Success ‘Of K-Pop.’“ All of this to say, yes, the Grammy dream came true…but let’s not forget to examine what’s going on underneath the surface to make sure there isn’t a wave of toxic backlash or rash decisions after this…

‘Golden’ Breaks Through and Makes History for K-Pop

• The New York Times says ‘Golden’ victory marks first-ever Grammy win for K-pop: “KPop Demon Hunters was one of 2025’s most powerful pieces of global culture and the most-watched film in Netflix’s history. And now it has earned a record: K-pop’s first ever Grammy Award.” (New York Times)

• EJAE focuses the win on representation and culture: “Growing up, people didn’t know where Korea was or what Korea was,” EJAE, the “Golden” co-writer and main singer said backstage in the Grammys press room. “But seriously that’s why it’s so incredible to have the song ‘Golden’ being sung all over the world, singing the Korean lyrics word-by-word, it means so much. I think this award is about that: representation. Today’s about celebrating culture and music that unites all cultures. We need that right now and it's a great honor to have.” (USA Today)

• K-pop’s elusive super-producer Teddy got a shoutout despite not showing: “A collective came forward to accept the win, with producer Jeong Hoon Seo (who goes by the producer name 24) delivering a speech in both English and Korean. At the end of the speech, Jeong gave a special shoutout to a major K-pop player, saying, “Although he couldn’t be here with us today, I dedicate this honor to the person who went through this whole journey with me — my greatest mentor and my closest friend, the pioneer of K-pop, Teddy.” Teddy Park — whose given name is Park Hong Jun — is the K-pop/rap star turned prolific music producer who has helped shape and aid South Korean music’s global crossover for over two decades now. Some of Teddy’s most notable work includes songs for BIGBANG, G-Dragon, PSY, Sunmi, 2NE1, CL, Jeon Somi, BLACKPINK, as well as solo singles from members Rosé, Jisoo, Jennie, and Lisa.”

While Teddy was not in attendance and rarely makes public appearances, the KPop Demon Hunters producers and creatives were in attendance the red carpet including (from left to right): NHD, Yuhan and ZHUN (who work as the production trio IDO), 24, VINCE, Dominsuk and Danny Chung (the singing voice of Baby Saja in KDH).

• “In a statement, producer ZHUN (a.k.a. Joong Gyu Kwak) of IDO added, “The Grammy Awards are essentially the greatest goal a composer can dream of, and it feels as though I have achieved that dream. Beyond simply the success of K-pop, it is an honor and deeply meaningful to have been able to contribute music to a work that introduces K-culture to the world.” (Forbes)

• South Korea is celebrating and wondering if this will lead to more awards: “‘Golden’ claimed K-pop’s first Grammy Award, a milestone that critics say highlights the genre’s global appeal and signals broader acceptance in the American mainstream. The Grammy win for ‘Golden’ — from the Netflix animated film KPop Demon Hunters — which also contended for song of the year, could help strengthen K-pop’s U.S. foothold and boost the genre’s prospects at future awards, music critic Lim Hee-yun said. The win for best song for visual media capped a highly visible night for K-pop at the Grammys — an institution where the genre has long been undercelebrated despite its massive international following.” (ABC News)

• But some still ask if it’s really “K-pop”: “While the win for ‘Golden’ is historic, K-pop fans questioned if the song really fits the genre. Areum Jeong, assistant professor of Korean Studies at Arizona State University, told the Associated Press that songs like ‘APT’ and KATSEYE’s ‘Gabriela’ – also Grammys nominees – ‘seem less K-pop than other K-pop songs that could have been nominated over the years.’ She said the nominations strike her more as ‘a de-territorialized, hybrid idea of K-pop,’ rather than a recognition of K-pop.” (CNN)

• Several outlets think ‘Golden’ — and K-pop at large — was snubbed at the Grammys:

  • “‘Golden’ had to settle for the silver. The smash hit from KPop Demon Hunters did not get ignored altogether: It won, inevitably, for best song written for visual media, and with that, it became the first K-pop recording ever to win a Grammy. It fell short for song of the year (losing to Billie Eilish) and pop duo/group performance (to Cynthia Erivo and Ariana Grande’s big Wicked song), the other spots where it had a chance. But the real snub was felt back at the nominations level, when it didn’t pick up a nomination for record of the year. “APT.” by Rosé and Bruno Mars also came up empty, despite multiple nods. It was a huge song, obviously, but not one that was favored in the prognosticating. Rosé was a first-timer, but Mars has a huge history with the Grammys — who may have just felt the need to let the fields lay a little bit fallow between the gigantic-ness of ‘Die With a Smile’ and his forthcoming album probably being a big force at next year’s Grammys. But do Recording Academy voters just still have a thing about honoring K-pop artists, even in collaboration with their A-list favorites? Can’t rule it out.” (Variety)

  • “Continuing this thread of musical Eurocentrism is the lack of K-pop appreciation at last night’s awards ceremony (not that this is anything new). While much has been made of KPop Demon Hunters’ ‘Golden’ becoming the first K-pop win in Grammys history, the fact that this arrived in the the Best Song Written for Visual Media category just doesn’t do that track – or, indeed, the mass virality of Bruno Mars and Rose’s ‘APT’ – justice. Both ‘Golden’ and ‘APT’ were much more deserving winners of Best Pop/Duo Vocal Performance than Wicked’s ‘Defying Gravity.’ Sue me.” (Dazed)

  • TheDailyMail capitalized on the snub but reporting “furious fans cry racism as Bruno Mars' Grammy winning streak ends amid collab with K-pop star Rosé.” Jacques Peterson writes, “Mars has won a Grammy at every ceremony he's been nominated in since 2014, winning a total of 16 Grammys throughout his career. The loss sparked backlash among K-pop fans, who accused the Grammys of racism for overlooking Rosé.” (DailyMail)

• What’s next: Oscars…performance? EJAE remained tight-lipped on whether she or HUNTR/X will be performing at the upcoming Academy Awards (despite the Oscars confirming only KDH and Sinners would have live musical performances): “Nothing’s official.”

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Breaking: BTS Sets Live Netflix Comeback Special, Feature Doc: “After a nearly four-year hiatus while completing solo projects and mandatory military service in their home country of South Korea, the globally recognized K-pop group BTS is getting back together for a live comeback special, as well as a feature documentary, both to premiere on Netflix in March. The live event, titled BTS The Comeback Live | Arirang, will see the group perform in celebration of their fifth studio album, the forthcoming Arirang. Marking the first-ever live event broadcast from Korea to be livestreamed globally, it’ll stream from the Gwanghwamun in Seoul, debuting exclusively on Netflix at 4 a.m. PT on March 21...the group’s comeback documentary, BTS: The Return, premieres on Netflix on March 17. Directed by Bao Nguyen (The Stringer, The Greatest Night in Pop), it’ll follow BTS as they come back together to begin a reunion set to be etched in pop culture history, while reflecting on the journey that transformed seven Korean members into global icons.” (Deadline)

CJ ENM and JYP are teaming up in China with Tencent which could see China-based K-pop crossovers get more global opportunities: “South Korean entertainment and retail company CJ ENM has set up a joint venture with JYP CHINA and Tencent Music Entertainment with a strategic focus on the Greater China market. The partnership, named ONECEAD, will combine ‘CJ ENM’s content production expertise with JYP CHINA and TME’s local infrastructure and networks’…its first project will be managing seven-member group MODYSSEY, formed through Chinese reality show PLANET C: HOME RACE. CJ ENM says that the JV marks an important strategic milestone, as it aims to build artist businesses that ‘resonate both regionally and globally.’” (Music Business Worldwide)

• What to Watch: With JYP Entertainment’s overall partnership with Universal Music Group and Republic Records, these Chinese-pop groups might finally be getting more global distribution and digital opportunities.

The day of the first concert, tour promoter ARAISE announced tour for Taehoon and Jooan of K-pop boy band TAN has been canceled due to “an unexpected issue during the artists’ local entry process” and “they will not be able to participate in the tour as planned.” The six-stop tour was set to run from January 30 to February 9.

Kim Taerae of ZEROBASEONE released a special music video for his cover of Christina Perri’s “A Thousand Years”

ZEROBASEONE also released their “special album” RE-FLOW, which will likely be their last release as a full, nine-member group. The project is led by the racing and emotional single “LOVEPOCALYPSE,” that recounts their time together:

Kim Min Seok of MeloMance, who have a song on the KPop Demon Hunters soundtrack, released a lovely new acoustic ballad “Countdown to Three like a Habit”

K-pop/rock group Hi-Fi Un!corn released a new single “Dreaming,” which is the ending theme song for the Japanese pre-school education program リッスン♪リッスン Hello English! All members participated in the writing, composition and arrangement.

ONEW announced his new EP TOUGH LOVE will be released on March 9. The SHINee member recently wrapped his second U.S. solo tour in January.

Chung Ha will release a new single on February 9:

Rosé was a social butterfly at the Grammys linking up Bad Bunny, Sabrina Carpenter, Addison Rae, Laufey, Audrey Nuna and more. (Getty Images)

Fans are speculating BLACKPINK’s Jennie could be collaborating with Tame Impala as different clues on social media have been pointing to the two artists supporting each other’s merch and songs.

Adam Nagai, a former contestant on America’s Got Talent as a member of the teenage acappella group Acapop!, will compete on the CJ ENM-created Japanese boy band show Produce 101 Japan Shinsekai

BABYMONSTER released a live tour performance of “Really Like You” as the song rises up the Korean charts

• The Onion asked fans — and Rosé — why they love K-pop 💀

JustJared featured rising K-pop group WHIB with an “exclusive” 10 fun facts about the members.

Yoon Yechan from boy band 82MAJOR showed support for a lesbian fan when she shared her hesitation to post about her relationship. “So what if these big, grown men are complaining about two girls dating?” he said “Do they have nothing better to do? I don’t even know — they’re just losers.” Thank you, Yechan.

SEVENTEEN’s “Don’t Wanna Cry” music video surpassed 300 million views just a few months ahead of its 10th birthday. It’s their first YouTube clip to do so.