K-pop has shaped global pop culture for years, filling stadiums, driving online fandoms, and setting music trends worldwide. Yet one major milestone has remained out of reach: a Grammy win.

That long-standing gap may finally close at the 2026 Grammy Awards, where K-pop and K-pop–influenced artists have earned historic nominations in the industry’s most high-profile categories.

For the first time, songs connected to the K-pop system appear in the Grammys’ “big four” fields, signaling a shift that many fans and industry experts have waited decades to see.

Nominations That Changed the Conversation

Instagram | @roses_are_rosie | Rosé and Bruno Mars made history with their Grammy-nominated global hit “APT.”

The 2026 nominations introduced several firsts that place K-pop closer than ever to Grammy recognition.

Rosé, a member of Blackpink, became the first K-pop artist nominated for Record of the Year with “APT.,” her global hit collaboration with Bruno Mars.

“APT.” also secured a spot in Song of the Year, another first for music tied to K-pop.

Competing in the same category is “Golden,” performed by Ejae, Audrey Nuna, and Rei Ami as the fictional girl group HUNTR/X, featured in the animated Netflix film “Kpop Demon Hunters.”

Katseye, a girl group created by HYBE, the company behind BTS, earned a Best New Artist nomination.

These nominations mark the strongest Grammy presence K-pop has ever had, even after years of chart success from acts like BTS, Seventeen, and Stray Kids.

Is This True Recognition of K-pop?

Not everyone views the moment the same way.

Areum Jeong, assistant professor of Korean Studies at Arizona State University and author of “K-pop Fandom: Performing Deokhu from the 1990s to Today,” describes the nominees as part of a broader, blended version of the genre.

While Rosé trained within the K-pop system and “APT.” references a Korean drinking game, Jeong notes that the song “does not feel like a localized K-pop production.” She makes a similar point about Katseye, explaining that the group follows idol-style training but targets Western audiences more directly.

Jeong adds that both “APT.” and Katseye’s “Gabriela,” which also competes against “Golden” in Pop Duo/Group Performance, feel less traditionally K-pop than many songs overlooked in past Grammy cycles.

The same logic applies to “Kpop Demon Hunters.” According to Jeong, the project draws from Korean culture while using K-pop more as a creative reference point than a direct product of Korea’s music industry.

Why These Nominations Feel Different

Mathieu Berbiguier, visiting assistant professor of Korean Studies at Carnegie Mellon University, highlights a key distinction: mainstream reach.

Each nominee is tied to a major global platform, which plays a clear role in their visibility.

One entry comes from a Netflix animated film with wide mainstream reach, another is driven by a high-profile collaboration with Bruno Mars, a familiar name at the Grammys, and the third is linked to a globally formed group backed by the Netflix reality series “Pop Star Academy: Katseye.”

According to Berbiguier, this signals that K-pop is no longer treated as a niche category. “When pop music is discussed now, K-pop is part of that conversation,” he explains.

The Rise of Globalized K-pop

Industry veteran Bernie Cho, president of DFSB Kollective, views the nominees as part of what he calls a post-idol phase of K-pop.

He explains that Rosé, HUNTR/X, and Katseye reflect a global format where Korean influence remains present, even if it is not always front and center. The music is not strictly created for Korea or confined by language. Instead, it exists beyond borders, shaped for international listeners.

Cho describes the moment as proof of how flexible and wide-reaching K-pop has become.

Why Recognition Is Happening Now

Instagram | allkpop | The 2026 Grammys mark K-pop’s definitive move to the center of global music.

Jeong points to long-standing resistance within Western institutions toward non-English music. Despite record-breaking achievements, K-pop groups singing primarily in Korean have struggled to gain Grammy traction.

She notes that it is not surprising that “APT.” and Katseye’s largely English-language releases gained attention first.

Berbiguier agrees, adding that current K-pop trends lean more heavily toward English lyrics than in the past.

Another factor may be timing. Tamar Herman, music journalist and author of the “Notes on K-pop” newsletter, says 2025 was widely viewed as a slow year for new U.S. pop releases. Luminate’s 2025 Mid-Year Report showed a drop in streaming momentum for new music, tied to fewer breakout hits.

Herman suggests that the industry’s outward focus reflects shifting global influence rather than sudden validation of K-pop’s quality. She emphasizes that Korean pop music has delivered strong work for years and that the current attention reflects broader changes in taste-making worldwide.

Still, she acknowledges the merit of the nominees, calling them accessible, well-crafted pop songs with wide appeal.

Will 2026 Deliver K-pop’s First Grammy Win?

Predictions remain mixed.

Cho believes the question is no longer about if a win will happen, but who will claim it and how many awards could follow. Berbiguier remains cautious, suggesting that “Golden” may have the strongest chance.

Herman takes a more nuanced view. Since HUNTR/X is a fictional group created outside the traditional K-pop system, she questions whether a win for “Golden” would count as a true K-pop victory. The answer depends on how the genre itself is defined today.

The 2026 nominations highlight a turning point shaped by global audiences, streaming platforms, and evolving definitions of pop music. Whether the first Grammy win arrives this year or later, the presence of K-pop–linked artists in top categories shows that the genre has moved closer to the center of the global music industry than ever before.