Image: [bts_bighit] via Twitter
BTS has made headlines once again, this time with a decision that has sparked conversations far beyond music. The global K-pop phenomenon has announced that it will not submit its music for consideration at the 2027 Grammy Awards, a move widely seen as a response to the Recording Academy’s newly introduced Best Asian Pop Music Performance category.
Let’s break down why this label is problematic!
Why is the ‘Asian Pop’ label from the Grammys limiting?
View this post on Instagram
A closer look at the Grammy category’s description reveals how the Recording Academy defines Asian pop. The rulebook describes it as a genre “characterized by integrated approach to music, performance, and presentation,” pointing to K-pop, J-pop, and C-pop as key examples. This definition largely reflects the idol-driven entertainment model, where music, choreography, visuals, and performance are developed as a unified experience. While widely recognized in parts of East Asia, the description raises questions about whether it accurately represents the diversity of Asian popular music.
The “Idol” culture
View this post on Instagram
The idol system traces its roots to post-war Japan, where young performers often begin years of intensive training in singing, dancing, acting, and language skills before making their public debut. In many cases, a single agency oversees every aspect of an artist’s career, from music production and marketing to live events and brand management. Although the model is most closely associated with Japan, South Korea, and China, it has expanded into other regions as well. Filipino girl group Bini, which made its Coachella debut in 2026, is also recognized as an idol group. While K-pop has become closely linked with this production model on the global stage, J-pop originally emerged as a radio term in the 1980s to distinguish Japanese-language music from English-language songs.
The real problem with the category
View this post on Instagram
The broad definition of the Grammy’s new category also overlooks the diversity that exists within Asian pop music. Several Japanese artists expected to be strong contenders, including acclaimed singer-songwriter Kenshi Yonezu, have built their careers outside the traditional idol system. Their music reflects a very different creative approach, making it difficult to group them under a single production model. The same complexity exists within Chinese pop music, where talent competitions have certainly helped launch successful idol groups, but they represent only one part of a much larger musical landscape. C-pop includes a wide range of regional styles, languages, and artistic influences that extend far beyond the idol format. By placing these distinct traditions under one broad label, the category risks overlooking the cultural and creative differences that shape each scene. It raises questions about whether a single definition can truly represent the richness of Asian popular music.
What does “Asian Pop” mean?
As an American institution, the Grammy Awards may view the term “Asian pop” through the lens of the Asian American experience and a shared diaspora identity. BTS has previously shown support for Asian American communities, particularly following the wave of high-profile hate crimes in the United States in 2021. Even so, the wording of the new category appears to prioritize the idol production model while overlooking the broader diversity of Asian popular music. It also gives little recognition to the influence of South Asian music or Western-inspired Asian artists, raising questions about whether the Grammys are in a position to define such a wide and culturally diverse musical landscape.
When BTS began gaining widespread attention in English-speaking markets, much of the media framed their success around one idea: breaking into the United States. That perspective often treated the American market as the ultimate measure of global achievement, despite Japan and China ranking among the world’s largest music markets in 2026. It also overlooked the decades of cultural and musical exchange that have connected artists and audiences across Asia.
View this post on Instagram
Cultural studies scholar Koichi Iwabuchi describes this ongoing exchange as “inter-Asian referencing,” a concept that challenges frameworks shaped primarily by Euro-American perspectives. His work highlights the importance of understanding Asian popular music through its own regional connections rather than measuring its value against Western standards alone.
Asian music defines its own category!
A powerful example of artists defining Asian popular music on their own terms can be found in a cross-border collaboration led by Japanese musician Awich. Widely recognized for her work in hip-hop, Awich has also contributed as a vocalist and songwriter across rock and pop projects, reflecting the versatility that exists within the region’s music scene. In 2025, she brought together prominent rappers from South Korea, China, India, and Cambodia for the collaborative track ‘ASIAN STATE OF MIND’. Rather than fitting into a single genre or cultural label, the song celebrates the individuality of each artist and the unique experiences that shape their music. Every verse offers a personal perspective on identityand cultural roots, which creates a conversation that extends beyond national boundaries.
One of the track’s most memorable moments comes from Cambodian rapper Vannda, who declares, “I told you it’s time, I de-colonize” in his closing verse. The project highlights the richness of Asian music by allowing artists to tell their own stories instead of being defined by broad industry labels.
How did the Grammys respond?
View this post on Instagram
Recording Academy CEO Harvey Mason Jr. has consistently defended the organization’s approach to introducing new Grammy categories. He emphasized that these decisions are shaped through consultation with artists and industry voices. Speaking about the creation of the Best African Music Performance category, he explained that it was informed by “trips to Africa” and a recognition that African artists “weren’t being heard in our process”. Following BTS’ decision to withdraw their music from consideration for the 69th Grammy Awards, Mason Jr. responded by stating that the Recording Academy will “continue to listen to the global music community, and work to honor and celebrate all the artists whose music moves the world”. This statement leaves the conversation around global representation very much open.
The big question
BTS’ decision has ultimately raised an important question about the creation of the Grammys’ new Asian Pop Music Performance category: who was involved in shaping its definition? As conversations continue across the music industry, many are calling for greater transparency around the consultation process and a broader understanding of Asia’s diverse musical landscape. While the Recording Academy likely introduced the category to celebrate regional talent, the response has shifted attention toward the challenges of defining such a vast and varied music scene. In that sense, the debate has placed Asian pop music in the global spotlight, though perhaps not in the way the Academy originally envisioned.
Follow BTS on : Facebook | Instagram | Twitter
Check out For More News Updates on Google News
