{"id":17463,"date":"2026-02-02T06:08:06","date_gmt":"2026-02-02T06:08:06","guid":{"rendered":"https:\/\/readtrends.com\/en\/golden-first-kpop-grammy\/"},"modified":"2026-02-02T06:08:06","modified_gmt":"2026-02-02T06:08:06","slug":"golden-first-kpop-grammy","status":"publish","type":"post","link":"https:\/\/readtrends.com\/en\/golden-first-kpop-grammy\/","title":{"rendered":"\u2018Golden\u2019 From \u2018KPop Demon Hunters\u2019 Becomes First K-Pop Grammy Winner Ever"},"content":{"rendered":"
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Lead:<\/strong> At the pre-telecast ceremony on Sunday afternoon, the song “Golden,” from Netflix and Sony Pictures Animation\u2019s KPop Demon Hunters, won Best Song Written for Visual Media. Performed by EJAE, Audrey Nuna and Rei Ami and written by EJAE, Mark Sonnenblick, DO, 24 and Teddy, the track marks the first time a K-pop song has received a Grammy. The victory follows the film\u2019s runaway streaming success and multiple charting originals, and the song remains a contender for Song of the Year on the main telecast. Huntr\/x and the film\u2019s creative team have seen the project translate streaming dominance into major awards recognition.<\/p>\n

Key Takeaways<\/h2>\n
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  • “Golden” won Best Song Written for Visual Media at the Grammys during the pre-telecast on Sunday, becoming the first K-pop song to win a Grammy.<\/li>\n
  • The track was performed by EJAE, Audrey Nuna and Rei Ami and credited to songwriters EJAE, Mark Sonnenblick, DO, 24 and Teddy; it entered the Grammys with four nominations.<\/li>\n
  • At least three of KPop Demon Hunters\u2019 original songs \u2014 “Golden,” “Your Idol” and “Soda Pop” \u2014 have been regulars on the Billboard Hot 100.<\/li>\n
  • Netflix data cited by media reports shows the film amassed 20.5 billion viewing minutes in the U.S. in 2025; at the film\u2019s 99-minute runtime this equals about 207 million full movie views.<\/li>\n
  • “Golden” remains nominated for Song of the Year on the evening telecast; it lost pre-telecast nominations in Best Pop Duo\/Group Performance and Best Remixed Recording.<\/li>\n
  • EJAE became the first Korean-American female songwriter ever nominated for Song of the Year.<\/li>\n
  • Other nominees in the visual media category included songs by Nine Inch Nails, Miles Caton, Elton John & Brandi Carlile, Jayme Lawson and the team behind “Sinners.”<\/li>\n<\/ul>\n

    Background<\/h2>\n

    KPop Demon Hunters debuted on Netflix in June 2025 and rapidly became a cultural phenomenon. Produced by Sony Pictures Animation and distributed primarily via Netflix streaming, the film climbed streaming charts and prompted limited theatrical windows after its initial platform success. Industry-tracking data cited in coverage lists the film as the most-streamed movie in the U.S. for 2025 with 20.5 billion viewing minutes, an outsize figure for a mid-year release.<\/p>\n

    The film\u2019s soundtrack played a central role in its profile: multiple original songs entered mainstream charts and radio playlists, a rare feat for animated features. Those chart placements and the soundtrack\u2019s creators drew attention from awards bodies across music and film, culminating in multiple Grammy nominations and at least one Academy Award nomination for Best Original Song. Historically, K-pop artists have received Grammy nominations \u2014 for example, Ros\u00e9 earned three nominations for “APT” (with Bruno Mars) this year \u2014 but no K-pop song had won a Grammy until “Golden.”<\/p>\n

    Main Event<\/h2>\n

    The Recording Academy presented Best Song Written for Visual Media during Sunday\u2019s pre-telecast, where “Golden” emerged as the winner. The ceremony recognized the performers EJAE, Audrey Nuna and Rei Ami and acknowledged songwriters EJAE, Mark Sonnenblick, DO, 24 and Teddy. The track had been shortlisted in four Grammy categories entering the weekend.<\/p>\n

    In securing the visual-media songwriting prize, “Golden” prevailed over nominees including “As Alive As You Need Me To Be” (Nine Inch Nails), “I Lied to You” (Miles Caton), “Never Too Late” (Elton John and Brandi Carlile), “Pale, Pale Moon” (Jayme Lawson) and “Sinners” (Leonard Denisenko, Rodarius Green and Travis). The win represents a first for K-pop at the Grammys \u2014 a milestone explicitly noted by industry coverage.<\/p>\n

    Although the group did not perform on the Grammys telecast, Huntr\/x have become closely associated with the film\u2019s awards push. “Golden” remains in contention for Song of the Year on the main, nighttime telecast, and the song is also an Academy Award nominee for Best Original Song; Huntr\/x are scheduled to perform during the Oscars ceremony alongside another nominated team from the same category.<\/p>\n

    Two of the song\u2019s Grammy nominations \u2014 Best Pop Duo\/Group Performance and Best Remixed Recording \u2014 were not converted into wins during the pre-telecast. Still, the combination of chart performance, cross-platform streaming impact and multi-body nominations has heightened industry focus on the song and on K-pop collaborations tied to major studio releases.<\/p>\n

    Analysis & Implications<\/h2>\n

    Symbolically, this Grammy win is significant for K-pop\u2019s institutional recognition, shifting the narrative from nomination-only visibility to award success in a domain historically dominated by Western pop and film music. A first Grammy-winning K-pop song opens doors for both Korean and diaspora artists seeking placement in major film projects and original soundtracks tied to global streaming releases. The recognition also validates a commercial path where streaming traction translates into awards momentum.<\/p>\n

    Economically, the film\u2019s streaming numbers \u2014 20.5 billion U.S. viewing minutes in 2025 \u2014 illustrate how a blockbuster streaming hit can create a multiplier for soundtrack songs. When soundtrack singles chart on Billboard and gain radio play, they generate additional revenue streams and visibility for songwriters and performers beyond soundtrack sales, potentially boosting future sync and licensing opportunities for K-pop creators.<\/p>\n

    Awards success at both the Grammys and Oscars (with “Golden” nominated for Best Original Song) could further normalize non-English and hybrid-language works in major U.S. awards categories, encouraging studios to invest in diverse creative teams. For K-pop industry players, the event may accelerate collaborations with Hollywood composers, producers and animation studios \u2014 a closer blending of K-pop production values with large-scale international media franchises.<\/p>\n

    However, one win does not guarantee systemic change: broader industry inclusion will depend on sustained chart performance, continued placements in prominent projects, and how awards voters respond to future submissions. The immediate effect is heightened attention and likely short-term commercial gains; the long-term structural impact will require repeated successes and institutional shifts in nomination and voting patterns.<\/p>\n

    Comparison & Data<\/h2>\n
    \n\n\n\n\n\n\n\n\n
    Metric<\/th>\nValue<\/th>\nNote<\/th>\n<\/tr>\n<\/thead>\n
    U.S. viewing minutes (2025)<\/td>\n20.5 billion<\/td>\nYear-end industry estimate cited in coverage<\/td>\n<\/tr>\n
    Film runtime<\/td>\n99 minutes<\/td>\nUsed to calculate equivalent full views<\/td>\n<\/tr>\n
    Equivalent full views<\/td>\n~207 million<\/td>\n20.5 billion \u00f7 99 minutes \u2248 207M<\/td>\n<\/tr>\n
    Grammy nominations for “Golden”<\/td>\n4<\/td>\nIncluded pre-telecast and evening categories<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/figure>\n

    The table places the film\u2019s streaming footprint beside the song\u2019s awards trajectory to show how large-scale platform exposure can yield both commercial and awards outcomes. Billboard chart presence for multiple soundtrack tracks further demonstrates the soundtrack\u2019s crossover into mainstream single-driven markets, not just film audiences. These figures help explain why awards bodies and studios are paying attention to soundtrack strategies tied to major streaming releases.<\/p>\n

    Reactions & Quotes<\/h2>\n

    Members of the creative team and observers emphasized the moment\u2019s representational significance and the pipeline from streaming success to awards recognition.<\/p>\n

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    “It\u2019s our moment,”<\/p>\n

    Huntr\/x (statement to media)<\/cite><\/p><\/blockquote>\n

    This succinct remark captured the team\u2019s framing of the win as both personal and generational. Media coverage and social responses framed the Grammy as a milestone for visibility in global music awards.<\/p>\n

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    “You\u2019re going to see three Korean faces. To think about the kids who are going to see that\u2026is the stuff that is giving me chills up my spine,”<\/p>\n

    Audrey Nuna (earlier comments on nomination)<\/cite><\/p><\/blockquote>\n

    Nuna\u2019s comment, made before the ceremony, highlighted the symbolic impact on younger audiences and the potential for expanded aspirations among Korean and Korean-American youth pursuing music careers.<\/p>\n

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