February 4, 2026
SEOUL – Despite three nominations, Rose walked away from the 68th Grammy Awards empty-handed — a result that mirrors the uphill battle K-pop artists have long faced with the Recording Academy.
Rose is not the first K-pop artist to fall short of a Grammy win, starting with Psy’s nomination for best music video with “Gangnam Style” in 2012, as well as BTS’ nominations for best pop duo/group performance between 2021 and 2023.
Ultimately, the Grammy Awards held firm in their reputation as one of the most conservative among global music awards. Known for prioritizing musical composition and innovation over commercial popularity, the Grammys have often sidestepped mainstream hits that dominate charts.
While “APT.” achieved widespread acclaim both domestically and abroad, culture critic Kim Heon-sik noted that the song’s lyrical and emotional core — particularly its repetition of the word “apateu” (apartment) in Korean — may have resonated more deeply with local audiences than with global listeners. The cultural specificity, while a strength artistically, may have limited its appeal among the Recording Academy’s 15,000 voters.
“Rose’s song, like BTS’ past works that were nominated for a Grammy, was a proven commercial success,” said Kim. “But the Grammys evaluate songs through a different lens. They focus more on the artistic shape and message of the music — not just how popular or impactful it was in music charts.”
Rose was also seen to have a unique edge over typical idol groups this year, having contributed directly to the songwriting and composition of “APT.” The Grammys have historically favored individual artistic contribution over group dynamics, according to Kim, but even Rose’s advantage wasn’t enough to overcome the institutional bar for what is considered Grammy-worthy music.
Kim added that the Academy’s favoring the music’s message could also be why Puerto Rican artist Bad Bunny won notable awards atthis year’s ceremony, including album of the year for his 2025 album “Debi Tirar Mas Fotos.”
“Bad Bunny’s Grammy win proves that the Academy is breaking away from its strong tendency to reward English-language tracks in its General Field categories,” he said. “But it’s not just the popularity behind the album that got him that achievement. The album, being one that focuses on Bad Bunny reconnecting with his Puerto Rican roots and preserving culture, was probably seen as a meaningful story behind the album that was worth rewarding.”
This year’s Grammy results hint that, while progress has been made for K-pop artists within the framework of Grammy recognition, the gap between K-pop’s current sonic identity and what the Grammys reward artistically remains.
However, it wasn’t a total shutout for K-pop this year, as “Golden” from Netflix’s hit animated film “Kpop Demon Hunters” secured a win for best song written for visual media, marking K-pop’s first-ever Grammy victory. Yet the absence of a win in any of the General Field categories — including Rose’s two nods for song and record of the year and “Golden” from “KPop Demon Hunters” for song of the year — was described as “regrettable” by several industry insiders cited by local media.
Still, the growing presence of K-pop on the nominations list, including girl group Katseye’s nomination for best new artist and best pop duo/group performance, suggests that a shift is underway.
“Rose and Katseye leaving the Grammys without a win is not a failure, but a sign of how far K-pop has come and how it might continue to evolve to expand its reach in global music institutions,” Kim said.

