Not just high notes: ‘KPop Demon Hunters’ No. 1 hit ‘Golden’ revitalizes Korean Wave on global stage

It went up, up, up to see its moment — the original song “Golden” from Netflix’s biggest hit of 2025, “KPop Demon Hunters,” topped the Billboard Hot 100 singles chart for the week of August 16, signaling the beginning of a new chapter for Hallyu, also known as the Korean Wave, in the global content market.

“Golden” climbed up one spot from the previous week’s No. 2 ranking on the singles chart, dethroning Alex Warren’s “Ordinary,” according to a report by Billboard posted on August 11.

“‘Golden’ is the ninth song associated with Korean pop to conquer the Hot 100 — and the first by female lead vocalists,” wrote Billboard.

The track’s win follows its No. 1 debut on Britain’s Official Singles Chart Top 100 on August 1, setting a rare double chart-topping record within about two months of the film’s June 20 release. Analysts say the success of the demon-hunting trio reflects not just the global reach of K-pop but also the expanding export of Korean culture, with diaspora-driven production methods expected to appear more frequently in the future.


The hit song formula

Within the film, the members of K-pop trio HUNTR/X double as exorcists who use the love of their fans, earned through music, to defeat evil spirits and complete a protective barrier called the “Honmoon.”

Their strongest rivals are also K-pop idols, Saja Boys — a five-member boy group portrayed as HUNTR/X’s “junior act,” referring to the hierarchical culture of the K-pop industry where K-pop idols refer to the group as senior or junior depending on the year of their debut.

In the film, HUNTR/X performs “Golden,” a track symbolizing its ultimate goal, the “Golden Honmoon,” while narrating the characters’ journeys to overcome past scars and become radiant figures. Vocally, the song includes classic K-pop embellishments, such as the soaring high notes.

“‘Golden’ followed the hit-making formula of a Billboard chart-topper, not as a fandom-driven K-pop single but as a theme song from a popular animation that steadily climbed the chart after debuting,” said pop music critic Kim Do-heon. “It is likely to have a long run on the chart.”

Going up, up, up and beyond

Though “KPop Demon Hunters” is a U.S. animated film, it closely portrays the daily life and performances of a K-pop girl group, including sharing ramyeon before a show, greeting fans at signing events and building connections.

“By specifically depicting phenomena within K-pop culture, it resonated with those already interested in K-pop and offered freshness to those unfamiliar with it, helping to drive popularity,” said pop culture critic Ha Jae-keun.

Observers see this as part of a broader shift from exporting K-pop music or performances alone to exporting Korean culture as a whole, while blending with local cultures.

In fact, the story of “KPop Demon Hunters” follows the conventions of action hero films, and the narrative of Rumi — the diaspora character expressed in “Golden.” It matches the diverse multicultural storytelling common in the English-speaking world.

K-culture through diaspora

One notable aspect of its success is its creation outside the Korean entertainment industry, yet with a respectful portrayal of K-pop and Korean culture.

Music critic Kim Yun-ha called it “a recreation based on respect,” noting that “because they worked with core figures who actually create K-pop, rather than mechanically imitating the culture, the result was of high quality.”

Produced by U.S. studio Sony Pictures, “KPop Demon Hunters” was helmed by Korean Canadian director Maggie Kang alongside Korean Canadian animators and partnerships with Korean K-pop agencies. “Golden” was written by former SM Entertainment trainee EJAE with Seoul-born Korean American rapper-singer Rey Ami and New Jersey-born Korean American artist Audrey Nuna on vocals. Producers Teddy and 24 from K-pop agency The Black Label also contributed.

Critics say the production model makes “Kpop Demon Hunters” a successful case of diaspora content, alongside Oscar-winning film “Minari” (2021) and Apple TV+’s “Pachinko” series (2022, 2024), both led by Korean diaspora creators.

“In the end, K-pop content that doesn’t require Korean nationals may emerge,” said critic Kim Do-heon. “As an outsourced form of K-pop, cultural content can be produced. ‘KPop Demon Hunters’ is an example of how combining the production style and system of K-pop with another culture’s distinct identity can spark curiosity.”

BY CHOI HYE-RI [yoon.soyeon@joongang.co.kr]