As the 2026 Grammy Awards approach, the music industry witnesses an unprecedented milestone for K-pop, a genre that has long been a dominant cultural force globally but often overlooked at major Western music awards. Historically absent from major Grammy wins despite multiple performances and nominations, K-pop is poised to break new ground with entries in four primary categories.
This year, Rosé, a member of the highly successful girl group Blackpink, is the first artist tied to K-pop to earn a nomination for Record of the Year, thanks to her collaboration with Bruno Mars on the track "APT." The Song of the Year category similarly features K-pop-related nominees, with "APT." competing alongside "Golden," a song from the soundtrack of the Netflix series "KPop Demon Hunters." Additionally, Katseye, a girl group developed by HYBE—renowned for producing international sensation BTS—has secured a nomination for Best New Artist. Katseye embodies the structured K-pop idol system but is distinctly marketed toward a global audience.
This recognition of K-pop's presence at the Grammys prompts discussion among scholars and industry professionals about the nature of the nominations. Are these accolades a direct validation of K-pop as traditionally defined, or do they represent a more globalized, hybrid interpretation?
Areum Jeong, an assistant professor focusing on Korean Studies at Arizona State University and author of K-pop Fandom: Performing Deokhu from the 1990s to Today, characterizes the nominations as more of a "de-territorialized, hybrid idea of K-pop." She highlights that although Rosé emerged from the K-pop training system and incorporates some Korean cultural motifs, her song "APT." and Katseye's track "Gabriela" are aimed more broadly at Western audiences and diverge from conventional K-pop production. Jeong points to the song "Golden" and the "Kpop Demon Hunters" series soundtrack as further examples of utilizing Korean culture as inspiration or motif rather than strict genre adherence.
Supporting this perspective, Mathieu Berbiguier, visiting assistant professor in Korean Studies at Carnegie Mellon University, observes a critical distinction between these nominations and previous K-pop Grammy nods: their strong connection with mainstream popular music. This includes Bruno Mars collaborating on "APT.," the association with the global Netflix platform through "KPop Demon Hunters," and Katseye's international composition and tie-in with the Netflix reality series "Pop Star Academy: Katseye." Berbiguier notes this development signifies that K-pop is no longer viewed as niche but integrated within the broader pop music category.
From the industry's vantage point, Bernie Cho, president of the South Korean agency DFSB Kollective, identifies a pronounced global appeal among the nominees. He describes them as representatives of "post-idol K-pop," acknowledging that while the "K" remains integral, it's often muted, and their music transcends its Korean origins. Cho views these nominations as a testament to K-pop’s increasing diversity and dynamic evolution, extending beyond its traditional national boundaries.
Residents of the music industry and academia alike consider why such recognition has arrived at this juncture. Jeong critiques the Grammys' historical reluctance to honor primarily non-English-speaking K-pop groups such as BTS, Seventeen, and Stray Kids, reasoning the language barrier remains a significant obstacle. She maintains that songs featuring predominantly English lyrics, like "APT." and Katseye's offerings, lower this barrier, facilitating nominations.
Berbiguier concurs, observing a trend toward incorporating more English in K-pop productions. Tamar Herman, a music journalist and author of the "Notes on K-pop" newsletter, adds that 2025 saw a relative stagnation in new U.S. pop music releases and fewer dominant chart-topping hits, as reflected in Luminate’s 2025 Mid-Year Report, which recorded slower streaming growth compared to the previous year. Herman suggests that this lull might have made the industry more open to external influences, elevating international artists in award considerations. She also frames the Grammys' recognition as indicative of a shifting cultural balance rather than a sudden validation of K-pop’s artistic merit, which has long been acknowledged globally.
Despite varying interpretations, the nominees’ artistry is not in question. Cho asserts that these acts are clearly not mere performers but accomplished artists, singers, and songwriters.
Looking ahead to the possibility of K-pop artists winning a Grammy for the first time, opinions differ. Cho expresses strong confidence, asserting that the breakthrough is inevitable and could involve multiple winners. Berbiguier considers "Golden" from "KPop Demon Hunters" a strong candidate but finds the outcome difficult to predict. Herman notes that whether a win constitutes an official "K-pop victory" depends on how one defines K-pop, especially given that HUNTR/X is a fictional group from an animated film and not a traditional K-pop industry product.
The upcoming 68th Grammy Awards ceremony is scheduled for February 1 at the Crypto.com Arena in Los Angeles, with broadcast on CBS and streaming via Paramount+. Industry observers and fans worldwide will be watching closely as K-pop's relationship with the global music establishment enters an important new phase.