K-pop artists have broken through at the Grammys with first-ever nominations in major categories, though debate rages about what truly counts as K-pop.
> At a Glance
> – Rosé’s “APT.” becomes first K-pop Record of the Year nominee
> – Fictional group HUNTR/X also makes Song of the Year history
> – HYBE’s Katseye scores Best New Artist nomination
> – Why it matters: These nominations signal K-pop’s full arrival in Western mainstream music, though some argue the “K” has become silent
For the first time in Grammy history, K-pop artists have secured nominations in the award show’s four biggest categories. The 2026 ceremony, set for February 1 at Crypto.com Arena, will feature Rosé competing for Record of the Year with her Bruno Mars collaboration “APT.”
The Historic Firsts
The breakthrough spans multiple categories. Song of the Year features two K-pop entries: Rosé’s “APT.” and HUNTR/X’s “Golden” from the “KPop Demon Hunters” soundtrack. Meanwhile, Best New Artist nominee Katseye represents HYBE’s global take on the K-pop idol system.
Areum Jeong, Korean Studies professor at Arizona State, questions whether these acts represent true K-pop recognition:
> “The majority of these nominations strike me more as a de-territorialized, hybrid idea of K-pop, instead of a recognition of K-pop.”
She argues both “APT.” and Katseye’s “Gabriela” seem “less K-pop than other K-pop songs that could have been nominated over the years.”
Why These Acts, Why Now?
The shift reflects changing industry dynamics. Mathieu Berbiguier from Carnegie Mellon notes these nominations differ because they feature “a mainstream popular music factor” – Netflix partnerships, Bruno Mars collaborations, and international membership.
Bernie Cho of DFSB Kollective calls it “post-idol K-pop”:
> “The songs are not necessarily for Korea, by Korea, from Korea, just kind of beyond Korea.”
Language plays a crucial role. Tamara Herman, music journalist, points out that Western resistance to non-English lyrics may explain why BTS, Seventeen and Stray Kids were previously overlooked while English-heavy tracks like “APT.” break through.
The Recognition Debate
The timing isn’t coincidental. Herman suggests 2025’s lackluster U.S. pop music landscape made the industry look externally:
> “These recognitions are more of a sign of how poorly the music industry in the U.S. did this year that we’re looking externally.”
Key Takeaways
- Rosé becomes first K-pop artist nominated for Record of the Year
- All nominated tracks feature predominantly English lyrics
- Critics argue this represents “globalized” rather than traditional K-pop
- Industry experts say the nominations reflect K-pop’s evolution beyond Korea
- The 68th Grammy Awards air February 1 on CBS and Paramount+
Whether this marks true K-pop recognition or simply pop music’s globalization remains subjective. As Herman notes: “It’s very obvious that they’re not just performers. They’re artists. They’re singers. They’re songwriters.” The Grammys have finally noticed, even if purists debate what exactly they’ve noticed.
