In our new regular feature “The Weekly,” music critic Seo Seongdeok takes stock of the major currents shaping the music industry each week. Catch up on all the news driving the industry right now, from the biggest moves artists are making to notable new releases, “Billboard” chart highlights, and more.

BTS refuses to submit for the 2027 Grammys
On July 29, all seven members of BTS took to their individual Instagram accounts to make the same announcement: “We have decided not to submit for Grammys this year.” They didn’t name the Grammys’ newly created Best Asian Pop Music Performance category directly, but their message—“Rather than music being divided by region or language, we hope music itself can be heard and loved for what it is”—opened up a conversation about a possible connection between the two.

That conversation includes a statement from Harvey Mason jr., CEO of the Recording Academy, the organization that presents the Grammys. According to Mason, the new category isn’t meant to split Asian music away but to spotlight more of it, and that artists who submit for the Asian pop category can still submit simultaneously for general categories like Record of the Year. Mason’s words suggest the Grammys haven’t outright excluded Asian music from the main awards. The new category could also provide space for nominations for Asian music that wouldn’t have had the opportunity otherwise.

But you can see how, when the Grammys set criteria regarding Asian markets and languages, the good intentions behind embracing more music could eventually box certain music into its own corner. The result could be Western, English-language pop remaining the universal genre, while Asian pop risks being treated as an exception defined by origin and language. So what makes BTS such an important part of the conversation? They’re the single biggest reason the category exists at all, dating back to their first Grammy nomination in 2021. Now, with the massive success of their album “ARIRANG” and the supporting tour, choosing not to do something can speak volumes over doing it at all. Sure enough, in the wake of BTS’s announcement, it became clear that the new category could help make Asian music more visible while also becoming an obstacle that draws a border between it and pop in the wider sense. And BTS, who are affected by that policy, are also the only Asian artists that can make that choice.

In other words, the code of ethics BTS chose to follow here isn’t one that can be demanded of other artists. The members aren’t closing a door—they’re saying that a particular door shouldn’t be the only, or the assumed, way in for Asian artists. BTS had been smashing their way through the ceiling for years before K-pop had its record-breaking night at the 2026 Grammys. They decided to make a statement even at the cost of a shot to win a Grammy for “ARIRANG.” They seem to say, if they don’t speak up, it will remain a barrier that goes unchecked. And maybe that barrier is one everyone will challenge together.

“Billboard” charts: Gracie Abrams scores her first No. 1 album
Gracie Abrams’ third album, “Daughter from Hell,” debuted at No. 1 on the “Billboard” 200 chart for the week of August 1. It’s the singer’s first No. 1 album. Her previous album, 2024’s “The Secret of Us,” peaked at No. 2. “Daughter” racked up 124,000 units in its first week. 77,000 of those were from album sales, making it No. 1 in sales for the week. It also pulled in 46,000 units from 47.3 million streams, placing the album at No. 6 in streaming. Four songs from the album entered the Hot 100.

Views on the album are divided. Every album receives its share of mixed opinions, but there’s something distinct going on with “Daughter.” The conversation around the music has become tangled up in the debate over Abrams’ background. It’s part of the so-called “nepo baby” discourse, where children of famous parents land privileged gigs in the entertainment industry. Gracie Abrams is one of the names that comes up most often when the discourse moves to the music world—her father is film director J.J. Abrams.

The new album is ostensibly centered around former “Daughter from Hell” Abrams repairing her relationship with her mother. But as with the hell metaphor, a lot of the lyrics are ambiguous, and the tired debate over who deserves to be successful has narrowed into one over who deserves to suffer. That’s what makes a track like “Look at My Life” so significant. Reckoning with her success, Abrams doesn’t deny or romanticize her privilege—she turns it into a topic she can tackle from a more concrete angle.

It’s hard to buy into the proposition of a double standard where “Daughter” would be judged differently if not for Abrams’ background because understanding where an artist comes from can deepen how we appreciate and interact with them and their work, but it’s fair to ask ourselves whether we hold other artists up to the same harsh standards, too.

Lollapalooza: JENNIE, CORTIS, i-dle, and aespa take the stage
Lollapalooza 2026 lit up the city of Chicago from July 30 through August 2. In a first, Disney+ provided a livestream worldwide, making the festival newly accessible to Koreans, too. Let’s look back at some of the standouts.

• Of the eight headliners across the four days, five were women soloists. In particular, Lorde’s day-one performance was praised as one of the best not just of this year but in all Lollapalooza history. It reached its climax near the end when Charli xcx made a surprise appearance to join her for “Girl, so confusing.” Their collab became a symbol of a weekend where women took center stage.
  
  
• Charli’s day-two set doubled as the live debut of songs from “Music, Fashion, Film,” her new album released just a week prior. She also performed songs from “Wuthering Heights,” the atmosphere emphasized by the downpour of rain accompanying when John Cale’s vocals on “House” kicked in. Tracks from “BRAT” remained on the setlist, but the lime green was conspicuously absent.
  
  
• JENNIE became the first female K-pop soloist to headline Lollapalooza. Her 18-song setlist was up from the 17 songs she’s been singing on her run of European festivals leading up to Lollapalooza, adding two previously unreleased songs on top of the three new tracks she’d already been performing. Ahead of her Lollapalooza set, JENNIE also joined Tame Impala’s Boston show, performing “Dracula” together live for the first time.
  
  
• K-pop artists performed every single day of the festival—i-dle on day one, JENNIE on day two, CORTIS on day three, and aespa on day four. CORTIS saw their set cut to 40 minutes after heavy rain delayed things across the schedule. Even so, they turned the mood around with explosive energy that came through even on the livestream.
  
  
• Disney+ has dramatically ramped up its live event coverage this year. On the music festival front, it already streamed Bonnaroo back in June, and it’s set to stream Austin City Limits in October. On the awards side, they’re also carrying the Academy of Country Music  Awards and the Rock & Roll Hall of Fame induction ceremony. And starting next year, the Grammys will be available on Disney+ as well. This all comes after Coachella partnered with YouTube, an influence that’s rippled out to other festivals and streaming platforms.