Grammys Asian Pop Category: Why These Five Acts Could Get Nominations

The Recording Academy’s introduction of an Asian pop performance category at the upcoming Grammys marks a significant evolution in its recognition of global music scenes. For its inaugural year, the category is poised to spotlight a diverse slate of artists, as some of the genre’s dominant names are absent from consideration.

Notably, several high-profile K-pop acts have not submitted work for this category or are ineligible under the rules. BLACKPINK, despite releasing four English-language tracks earlier this year, does not qualify because nominees must include substantial use of Asian languages in their songs, a criterion that excludes fully English works. Similarly, Stray Kids, a prominent K-pop group with a strong U.S. presence following a major North American tour and festival debut, confirmed they did not enter submissions for this Grammy cycle. This absence opens the field for emerging candidates to gain recognition.

Among the acts that could earn nominations is Kenshi Yonezu, a multifaceted Japanese artist who wrote, composed, arranged, and produced the opening theme for the Japanese film Chainsaw Man – The Movie: Reze Arc. His song achieved a historic No. 5 placement on the Billboard Global 200 chart, the highest-ever for a Japanese-language track, and dominated the Japan Hot 100 for 14 weeks. Yonezu also contributed the film’s closing theme, collaborating with Hikaru Utada, a revered J-pop figure known for her work on Kingdom Hearts soundtracks. These two compositions represent strong contenders due to their commercial success and critical acclaim.

From China, singer-songwriter Miist presents a unique submission with a bilingual power-pop ballad co-created with producer and three-time Grammy winner Walden. The song features both Mandarin and English verses, reflecting a blend of generational and cultural influences. Miist has publicly endorsed the new Grammy category and actively supports its role in amplifying Asian pop music on the global stage.

The Filipino pop landscape is represented by the band SB19, notable for breaking new ground as the first Filipino group to perform at Lollapalooza. Their track “Visa,” inspired by challenges faced by Filipinos working and performing abroad, reached the top 10 on Billboard’s World Digital Song Sales chart. The group’s submission underlines the category’s potential to highlight underrepresented Asian music markets and narratives.

While Stray Kids refrained from submitting, their earlier releases such as “This & That” and “Do It” had charted on the Billboard Hot 100, signaling the group’s growing international footprint. The fan-dedicated single “STAY,” with its emotive harmonies and bilingual lyrics, was initially considered a compelling Grammy submission due to its resonance with their dedicated audience.

The establishment of this Grammy category and its criteria draw attention to the linguistic and cultural nuances shaping eligibility. By requiring meaningful use of Asian languages, the Recording Academy emphasizes authenticity and representation within this musical genre, setting a framework that affects which artists can compete.

As the first cycle of nominations for Asian pop unfolds, the category is positioned to not only celebrate established stars but also to elevate diverse voices from across Asia’s vibrant music scenes. While some details about submissions and finalists remain limited, the early indicators suggest a competitive and varied field.

This new Grammy category signifies an important step in acknowledging the global impact of Asian pop. It also reflects the evolving dynamics of the music industry, where cross-cultural collaborations and multilingual artistry are increasingly prominent. The forthcoming nominations will set a precedent and potentially shape the future trajectory of Asian pop’s visibility in the Western music awards landscape.