At the 68th Grammy Awards, K-pop marked a new milestone.
Netflix OST "Golden" won Best Song Written for Visual Media, creating a first for the genre.
This result shows K-pop's expanding reach on the global music stage.
However, the absence from the ceremony's main categories has prompted mixed reactions from fans and critics.
Did the Grammys partially open the door—or set a new threshold?
On February 1, 2026, the 68th Grammy Awards were held at Crypto.com Arena in Los Angeles.
The ceremony honored music released between August 31, 2024 and August 30, 2025.
Within that eligibility window, the win for Kedehun's "Golden" became a landmark moment for the K-pop scene.
Summary
The core fact is simple.
A song won an award.
It was an original song from a Netflix series and it took home a Grammy.
The award is recorded as a K-pop OST win and adds a new line to the genre's statistics.
"Standing on the Grammy stage under the name of K-pop."
"Golden" was chosen as Best Song Written for Visual Media at the 68th Grammys.
This category evaluates songwriting written specifically for films, TV shows, and games, so the win acknowledges the combination of music and screen storytelling as well as a soundtrack's narrative role.
History and context
The record continues.
The Grammys began in 1959 and remain a major industry institution.
Wins for non-English-language music have become more frequent in recent years.
This year also highlighted multilingual success, such as Bad Bunny's Spanish-language album winning major awards.
"The rise of non-English music is unmistakable."
On the other hand, critics stress that the Grammys' center of gravity is still English-language music.
Rosé's "Apartment"—a collaboration with Bruno Mars—was nominated for Song of the Year but did not win.
That omission suggests K-pop has not yet fully penetrated the ceremony's headline categories.
Arguments in favor
The win matters for several reasons.
First, an OST award showcases the creative breadth of K-pop songwriting.
Soundtracks tied to films and series can imprint songs on global audiences in ways single releases sometimes cannot.
A show on Netflix, for example, exposes a song to viewers around the world almost instantly.
"An OST win opens another path for K-pop."
Second, the award demonstrates diversity within K-pop.
The genre is not limited to idol-driven pop; OSTs, cross-genre collaborations, and solo experiments are increasingly visible and recognized.
That variety signals new opportunities for investors, labels, and producers.
Third, the result reconfirms the power of fandom.
Rosé's televised stage and the attention around Kedehun's win show how organized global fandom, streaming behavior, and social media shape cultural visibility.
Fans' coordinated listening and promotion are part of the ecosystem that can influence awards outcomes.
Finally, the symbolic effect is significant.
Repeated wins by non-English artists may nudge institutional evaluation norms over time.
When categories broaden—similar to how Kendrick Lamar and SZA shifted expectations—future recognition in Album or Record categories becomes more plausible.
Arguments against
There are objections as well.
First, the award is not a headline category.
Album of the Year, Record of the Year, and Song of the Year attract the most attention, and a Visual Media Song award is seen as a different tier.
Some fans and critics therefore view this result as an incomplete breakthrough for K-pop.
"An OST is a consolation prize."
Second, questions about project authorship arise.
"K-pop Demon Hunters" (a Netflix production often referenced as Kedehun) is a multinational project with many contributors.
Some argue the win reflects a cross-border collaboration rather than a singular triumph of the K-pop industry itself.
Given that Rosé and other prominent K-pop artists did not secure main-category awards, fan reactions are mixed.
Third, skepticism remains about sustainable change.
One trophy does not eliminate systemic barriers—such as judging practices, label influence, or language bias—that affect long-term recognition.
Critics also warn that expansion limited to serving Western market tastes could constrain authentic artistic agency.
Finally, the victory may intensify divisions within fandoms.
Joy and disappointment coexist, and that tension can fracture communities.
Such splits could complicate an artist's global strategy and public image if not handled carefully.
Causes and deeper analysis
What caused this outcome?
First, the Grammys are slowly globalizing.
Wins by non-English artists have accumulated, and category boundaries are loosening incrementally.
This year's results fit a pattern that includes other international winners.
"A diversification of global taste showed up in the winners."
Second, media convergence plays a major role.
Global streaming platforms amplify an OST's reach and cultural impact.
When audiences encounter a song inside a popular show, they often seek it out—changing how award voters and the industry assess influence.
This shift affects revenue models and marketing strategies across the music business.
Third, there is a balance between narrative fit and mass-market presence.
"Golden" likely scored highly for its artistic fit within the series and for songwriting craft.
By contrast, mainstream chart dominance follows different metrics. How the Grammys weight those elements over time is an open question.
Ultimately, this win revealed both opportunity and limitation at once.
The diagnosis carries immediate implications for K-pop strategy, label investment priorities, and artist positioning on the global stage.
Specifically, OSTs, collaborations, and soundtrack-focused storytelling are likely to be prioritized going forward.
Outlook and recommendations
The next steps are clear.
K-pop should target main-category recognition while continuing the creative experiments that led to this OST win.
That effort requires long-term planning and cultural resonance with English-speaking audiences without sacrificing artistic identity.
"A strategic approach will be decisive."
Institutional change is also necessary.
The industry should press for broader, more transparent judging practices at major awards.
Meanwhile, strengthening artistic ecosystems in Asia and building international collaboration models remain important.
Fandom is a powerful asset, but it does not guarantee awards.
Labels and producers should avoid treating the OST success as a one-off marketing stunt.
Blurring genre lines, embedding storytelling into music, and coordinating multinational promotion are layered strategies that increase the chance of future headline-category wins.
Conclusion
The takeaway is straightforward.
"Golden"'s Grammy win is a milestone that also exposes remaining limits.
An OST award is meaningful, but it belongs to a different category of achievement than a main award.
Therefore, the moment calls for both celebration and sober reflection.
The outlook is mixed.
Real expansion will come when institutional change and strategic responses move forward together.
When fans and industry actors reflect and act in concert, K-pop will be better positioned to reach higher stages.
How do you interpret this result?
