HYBE’s so‑called “K‑Pop Methodology” has finally knocked on the Grammys’ door, with Cats Eye—a localization group based in the United States—nominated for Best New Artist at the 68th Grammy Awards set for February 1 next year. This category, one of the General Field prizes, marks a significant milestone as a K‑Pop act reaching the Grammys in a top newcomer slot.

Cats Eye is a multinational girl group developed jointly by HYBE and Universal Music Group’s Geffen Records. The lineup includes one Korean member, three Americans, dual citizens from Switzerland and Italy, and dual citizens from the Philippines and the United States. Members were selected through the survival audition program “Dream Academy” and trained under HYBE’s T&D (Training & Development) system prior to debut.

HYBE previously acquired Ithaca Holdings—the home of Ariana Grande and Justin Bieber—and established a joint label with Geffen under Universal. This move is described as a practical realization of the “K‑Pop Methodology,” aiming to apply HYBE’s five core evaluation areas—dance, vocal, visuals, performance, and attitude—to a US‑based framework.

Debate has emerged over whether Cats Eye represents the “first” K‑Pop group to be nominated, given that only one Korean member is in the group and their major activities focus on the US market. Analysts acknowledge the nomination as meaningful on a global scale, suggesting K‑Pop’s identity is evolving beyond a fandom‑driven phenomenon.

On the charts, Cats Eye’s success is noted in the context of their English‑language output and US exposure, including a resurgence for the track “Gabriella” on Billboard charts—reaching the Hot 100 peak of 33 and hitting No. 14 on Pop Airplay. Still, North American monetization remains limited for now, with an NH Investment & Securities analyst predicting a project‑level break‑even around 2028, roughly two years after their debut.

From the 15th, Cats Eye will embark on their first North American tour, spanning 13 cities and 16 shows. This tour is viewed as a watershed moment for HYBE’s localization strategy to monetize its overseas operations and as a test of whether the K‑Pop training system can sustain a viable global business model in the music industry.