At the 2026 Academy Awards, the songwriting trio behind the K‑pop collective Huntr/x captured the Oscar for Best Original Song with “Golden,” written for the animated feature KPop Demon Hunters. The win—Huntr/x’s first Academy nomination and victory—signals a notable moment for K‑pop’s presence on the film music stage.
Onstage, Lionel Richie handed the golden statuette to the group, who shared the moment as their team passed the trophy among them. Lead vocalist Ejae used her acceptance remarks to acknowledge family, collaborators and fans, and to reflect on how the song’s reach—now sung by audiences in Korean and other languages—has reshaped perceptions about their sound and background.
The trio had already showcased “Golden” live earlier in the ceremony, performing with a cast of dancers on raised platforms while large gold banners created a theatrical backdrop. The performance was one of the night’s most talked‑about production numbers.
| Category | Song | Film | Songwriters / Contributors |
|---|---|---|---|
| Winner | Golden | KPop Demon Hunters | Ejae, Audrey Nuna, Rei Ami (Huntr/x) |
| Nominee | Dear Me | Diane Warren: Relentless | Diane Warren |
| Nominee | I Lied to You | Sinners | Raphael Saadiq, Ludwig Göransson |
| Nominee | Train Dreams | Train Dreams | Nick Cave, Bryce Dessner |
| Nominee | Sweet Dreams of Joy | Viva Verdi! | Nicholas Pike |
Industry watchers have pointed to the songwriters’ victory as part of a broader trend: non‑English and genre‑fluid music gaining traction in major awards, reflecting changing global streaming habits and wider audience tastes. For Huntr/x, the trophy underlines not just commercial success but a moment of cultural recognition.
- First Oscar—Huntr/x secured their first Academy Award on their debut nomination.
- Visibility—The win highlights K‑pop’s expanding role in film soundtracks and awards conversations.
- Strong field—The category pitted emerging acts against veteran songwriters, from Diane Warren to Nick Cave.
- Performance impact—Their live presentation amplified the song’s profile across mainstream viewers.
Last year’s winner in the same category was the Spanish‑language number “El Mal” from the French musical crime film Emilia Perez, written by Clément Ducol, Camille and Jacques Audiard. That 2025 award, presented by Mick Jagger, similarly underscored the Academy’s recent openness to international and multilingual work.
As awards season continues, the outcome in the Best Original Song race will likely prompt more filmmakers and studios to consider bold, cross‑cultural musical choices—an evolution that may reshape how original songs are written and marketed for cinema.
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