Hitmakers: Ejae on co-writing Golden, the smash hit from K-Pop Demon Hunters

Netflix film K-Pop Demon Hunters has been nothing short of a phenomenon in 2025, its soundtrack spawning many hits, none more monstrous than the million-selling No.1 Golden. Music Week meets co-writer, singer and vocal producer Ejae to tell the story of a song that has had a seismic impact on her career and the industry alike... INTERVIEW: Ben HomewoodPHOTO: Universal Music Group UK I was in Korea doing songwriting camps for K-Pop Demon Hunters and also worked on the songs at home in New York, mostly from my closet! It’s my little corner, my safety zone. I vocal produce and record myself, so I’m very flexible with where I can work. I sang all the demos except for two songs on the soundtrack and for Golden I was also vocal producing and did all of the harmonies. I was driving to the dentist when I came up with the melody. It was really early and I was tired, but in a chill mood, very normal. I was actually getting a gold filling, because I ate too much candy – I have a lot of cavities! It’s interesting how things work: the title became Golden. The track had this nice, bittersweet kind of sound and sometimes the inspiration just comes instantly. The hook came out really fast, but to finish the whole song took a lot of fine tuning over a month or two. Because this is a film, the storyline matters; it’s not just a pop song, it’s integrated as a huge part of the narrative. So, that took a lot of back and forth with the director. With the lyrics, we knew the scene had to have the word ‘gold’ in it and the musical directors told us the character Rumi needed to hit a high note, almost unrealistically high. So it is all on purpose that Golden is really hard to sing! I didn’t just make it hard, I would never do that! [Laughs]. I truly found my range writing these songs, I did not know I could hit notes that high. The director wanted Rumi to have incredible vocal range, so I had to stretch myself and do vocal gymnastics. It is a difficult song, the ranges are pretty crazy. I’m also more of a low-tone singer, I have more alto, so hitting the note was crazy. But also the line distribution, because I’m singing a lot of the parts, breathing was very important. I also went into the song personally, it was emotional. I cried singing the demo because I needed that song during that time. I was going through a hard time, I felt like I wanted to give up songwriting because things weren’t really working out. So, Golden was important to me. The lyric ‘gonna be, gonna be golden’ came out of a gibberish melody I had and suddenly it felt like magic, it was meant to be. I related to the lyrics because it’s a hopeful song and what Rumi is going through with hiding her shame and pushing that aside to focus on her dream was totally relatable to me as a former K-pop trainee. That thing of putting your best foot forward, working hard and yearning for a dream. Golden stands out because it’s very different from a musical standpoint, it’s a modern pop song. My co-writer Mark Sonnenblick is from a musical-theatre background and I’m from a K-Pop background and that hybrid was very important. It was about making sure the lyric is still part of the story while still trying to have a very pop approach to it. Pop music today is very focused on the artists and their personal journeys and things being about themselves. Songs are not really about something like hope; they’re usually about, like, being a baddie or personal relationships, break-up songs or love songs. But this song is very… It was a hard song to write. It’s a fine line [and could be seen as] cringey, but the way the movie shows it – the character build, the depth, the lyric and the personal touch – creates something that maybe people want, a song that’s hopeful. You don’t really see that in pop music today. Also, I study and listen to a lot of pop music and, chord-wise and melodically, it mostly stays in the same range, whereas Golden is very different. You saw that a long time ago in the ’70s and ’80s, where things were more melodic. So it’s bringing that back. Golden is a great example of K-Pop, too, because Korea likes to experiment. K-Pop is very maximalist, very pristine and I think Golden is a representation of that. Also, just the vocals, you know – we’re vocalling on this song! [Laughs]. When I saw it in the scene for the first time… Oof! It definitely hit different. When we wrote it, we said, ‘Ooh, this is a smayyash!’ [Laughs]. But its success depends on whether the film is a hit, right? When you’re writing for film, there are so many different layers: you’re not just writing a song and then giving it to an artist. In a way, it’s also freeing. You don’t have to think, ‘Hey, what are we writing today?’ because you know exactly what you have to write about. It’s just trying to execute what the director is envisioning to make sure you hit the bull’s eye. When it came out, I took a flight and we got off the plane at night, and my fiancé was looking at his phone. He’s a huge Reddit guy. He was like, ‘Babe, so many people are talking about you.’ Then I got on my TikTok, and it was all K-Pop Demon Hunters. I thought it was just my algorithm, but no! We then saw this kid watching the music video and singing. If people on your street in New York are paying attention, it’s like, ‘Okay, this is big!’ Just recently I was in Las Vegas in an Uber, wearing a facemask and all, and Golden came on the radio. I started crying, it was so surreal. I got in on this project as a songwriter and was very grateful that the director asked me to sing as Rumi. I just didn’t expect this amount of attention, or people actually being interested in me singing. That’s new territory I’m looking into, because I never really saw myself as an artist, but it’s something that might happen soon, with a single… Writer’s Notes Publishers: Maisie Anthems, YG Entertainment Inc, TheBlackLabel IncWriters: Ejae, Mark Sonnenblick, Joong Gyu, Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seo & Park Hong JunProducers: IDO, 24, Teddy & Ian EisendrathLabel: Republic/Island EMITOTAL SALES (OCC): 1,124,445

2025 In Review: Top industry names on the year in music - Part 2

From shifts at the top of the major companies to big debates about AI, remuneration and the independent sector, it has been an incredibly busy 12 months. And that's before you even consider Oasis' comeback, global breakthroughs and the return of Taylor Swift, as well as a bonanza year for live music. Here, we quiz a host of industry figures about how they saw 2025, including Aaron Bay-Schuck, Louis Bloom, Golnar Khosrowshahi, Tracy Gardner, Tom Corson, Safiya Lambie-Knight, Denis Desmond, Michelle Escoffery and David Ventura... AARON BAY-SCHUCKWarner Records US In your opinion, how did deal–making change in 2025? “The deal landscape is more competitive than ever, even for artists who may not yet have the data to back up early instincts. Frontline labels are increasingly doing distribution deals, and traditional agreements are trending towards shorter terms and limited commitments. While these shifts can benefit artists, they also make it more challenging to invest in long-term development. Building a lasting career often takes years, and deals aren’t always structured to allow that process the time it deserves.” What was your favourite track of 2025? “Dijon’s Yamaha, because I simply have not been able to stop listening to it for months. Dijon brings together so many different influences, yet is so entirely his own person. The melodies are hauntingly beautiful and addictive, his productions are super complex yet utterly simple, and his voice just doesn’t sound like anyone else’s. Similarly to his song The Dress, you just want to press play on Yamaha again as soon as it’s over, and with each new listen, a new favourite part emerges. At the other end of the spectrum, I have had EsDeeKid’s LV Sandals on repeat. The energy and urgency in that record is felt from the first second and it’s filled with some great punchlines. And as a short song, it demands instant replays.” And your album of the year? “I need to shout out the Warner home team and give the nod to Sombr’s I Barely Know Her. Not only is the album chock-full of major hits that you don’t need to feel guilty about loving, but the album is also entirely written by Sombr – a remarkable feat from such a young artist on his debut album in a space often occupied by a handful of writers on every song. Even his breakthrough hit Back To Friends is produced entirely by himself, in addition to the songwriting. For me, this album has no skips. Clipse’s album Let God Sort Em Out was also one of my favourites of the year. No skips on that either.” LOUIS BLOOMIsland EMI Label Group What did you learn about the art of A&R in 2025? “It has been clearer than ever before that by sticking to your gut, understanding that things take time, and keeping the faith in our brilliant artists, the rewards will come.” How will Island EMI continue its success with guitar acts? “Across the whole label, there is a deep love for alternative music, both past and present, so it feels very natural for us to focus on this genre. We always want to be on the front foot in culture and credibility and there is some very innovative music coming from our shores, across all genres, which is thrilling.” What was your favourite track and album of 2025? “Lola Young’s Messy is my track of the year. When we signed Lola in 2019, we knew she was really very special. It has been a long journey but throughout that time we always had the belief that she would connect and with Messy she did that in spectacular fashion. My album of 2025 is Geese’s Getting Killed. I think it was one of the most exciting alternative albums of the year.” SAFIYA LAMBIE-KNIGHTSpotify How did Spotify’s playlist brands evolve this year? “It’s been exciting to see how our playlist brands continue to grow and create pathways for artists to build audiences in the UK and beyond. Fresh Finds remains a key playlist brand for emerging independent talent, championing artists across all genres right from the start. We’ve also rolled out a new video experience within our playlists. Hot Right Now is hosted by our editorial team and is designed to bring users up to speed on the latest music stories. Having our team on camera is a big development, so we’re excited to see how that evolves.” And how did you boost domestic acts in 2025? “Of many examples, my favourite has to be Olivia Dean. The team built a special partnership for her album launch, which gave listeners a way to step into the world of The Art Of Loving through music, conversation and storytelling. It culminated in an intimate event for a small group of Olivia’s top Spotify fans. Also, her monthly listeners on Spotify have grown from 5.3 million at the beginning of the year to over 50m at the time of writing, which is incredible.” What was your favourite track and album of the year? “Olivia Dean’s Man I Need – one of the catchiest songs of all time! And Dave’s album is just incredible. He never misses and is one of the most compelling artists of our time.” GOLNAR KHOSROWSHAHIReservoir Media You told us that Reservoir is “fighting the good fight” earlier this year. How did you do that in 2025? “At Reservoir, we have continued to ‘fight the good fight’ by championing our songwriters and artists across every platform. In 2025, that has meant actively engaging in conversations around AI policy and copyright, securing equitable deals for our creators and expanding opportunities globally through thoughtful partnerships. Through board seats at the NMPA, ICMP, IMPF and more, the Reservoir team’s advocacy continues to push the industry towards a fairer future for creators and rights-holders. From unfair government regulations to the ongoing fight for proper compensation on streaming to the exploitation of unlicensed works by AI and tech companies, it’s all part of making sure that the creators on which the entire music industry is built are properly valued.” Which industry move impressed you the most this year and why? “Lisa Yang’s move from Goldman Sachs after 16 years to EVP, global head of strategy at Warner. Her work on the Music In The Air reports helped set a strong and widely respected standard for financial entities’ understanding of, and reporting on, the industry. It will be interesting to see how those insights are applied in her new role.” Can you please tell us your favourite track and album of 2025? “Rachel Chinouriri’s Can We Talk About Isaac?. I saw her in New York and the crowd went wild, and with the momentum she built as an opener for Sabrina Carpenter, it feels like a breakout moment. I loved Reneé Rapp’s album Bite Me, on which our writers Ali Tamposi and Steph Jones collaborated. Reneé’s ability is undeniable, and Ali and Steph have proven once again how skilled they are at crafting hit pop songs that connect.” TRACY GARDNERTikTok How would you sum up your time in your role as TikTok’s global head of music business development so far? “This role has already been a career highlight – it’s a real privilege collaborating with incredible teams to build what’s next for music discovery and culture on TikTok. Even with the intensity of the day-to-day at such a fast-moving company, getting to work closely with artists, labels, publishers and creators has been exhilarating.” What do you want the business to know about your vision for the music side of TikTok under your leadership? “My vision is big – to go even bigger on TikTok being the world’s best platform for music promotion and discovery. How do we do this? By constantly strengthening and evolving TikTok’s flywheel effect. This is how I see it: TikTok is a platform that initiates music discovery and promotion. Then, the Add To Music App feature makes it easier than ever before for fans to save music for repeat off-platform consumption on streaming platforms, which pushes music up the charts, and in turn increases fandom. And our newest evolution is to then bring all of this excitement to life through real-world superfan events, as we recently did with the likes of Miley Cyrus and Ed Sheeran. Finally, we bring the flywheel full circle by sharing these in-real-life moments on TikTok through LIVE streaming and fan creations.” What was your track and album of 2025? “Role Model’s Sally, When The Wine Runs Out. I first noticed it when I saw the videos of Role Model performing live with all these amazing ‘Sallys’ that came out on stage. The first one I saw was Natalie Portman and then I noticed all these powerhouse women come out to be ‘Sally’ – Reneé Rapp, Olivia Rodrigo, Kate Hudson… The list just keeps growing and growing. It’s an amazing country rock song. Ed Sheeran’s Play is my album of the year. I was working for Warner Music in London at the time that he started to get the recognition he deserved. Seeing him grow into the superstar that he is to the world has been a true joy. He is just such a great guy. TikTok held an event for Ed in Brooklyn in September and it was magical: 500 fans on a perfect New York City evening with the sun going down. I will never forget it.” TOM CORSONWarner Records US Casting your eye back over the past 12 months, did the music industry do enough to support artists in 2025? “We’ve continued to invest heavily in talent at every level – putting in the time and resources to nurture and support them. Along with that, we’ve seen meaningful progress from our streaming partners, with increased prices now better reflecting the value of music and artistry. That said, we always have to keep looking ahead and make sure every change or disruption in our industry ultimately benefits our artists.” What was your track of 2025? “This is always an unfair question when there’s so much wonderful music out there! I will pick one I love, but it’s tied with so many others depending on my mood: Sombr’s Back To Friends. It’s a major breakout for a truly talented artist whose future is so bright! I love his story and we were so happy to see him recognised as a Grammy Best New Artist nominee.” And your favourite album? “Linkin Park’s From Zero, which also landed a Grammy nomination for Best Rock Album! Last year, the band’s members Mike Shinoda, Brad Delson, Joe Hahn and Dave Farrell made the bold choice to evolve their DNA, by welcoming brilliant co-lead vocalist Emily Armstrong and uber-talented musician and producer Colin Brittain into the creative core. It kicked off with the now Grammy-nominated rock song The Emptiness Machine, which immediately ignited a global cultural moment and set the tone for the entire album. The choruses are massive and anthemic, and are paired with hyper-modern production that stands shoulder-to-shoulder with today’s biggest releases. Every track is hook-heavy and melodic, streaming like a pop record and hitting like a rock record. They reimagined what modern rock can be. Together, they created the rare album that won over both the day-one fans and the next generation discovering them for the very first time.” ROBERT RONALDSONRobots + Humans Bearing in mind the role data can play in the process of finding new hits, which Robots + Humans campaign sticks in your mind the most from the past 12 months and why? “In terms of coming out of nowhere, I think a record we worked on called The Glen is tough to beat. The track came together when Levi Heron, based on the Isle of Lewis in the Outer Hebrides, which has a population of 18,000, remixed a track by Beluga Lagoon, a trad artist who lives largely off-grid in Scotland. So, when that crossover of hard techno and traditional folk connected on TikTok, leading to 200,000 creations, 50 million streams and a Top 40 chart position, it was certainly a happy data surprise!” What was your favourite song and album of the year? “My track is Ciza, Jazzwrld and Thukuthela’s Isaka (6am). It’s a super interesting record from the emerging genre of 3 step that was a monster hit in South Africa and is travelling a bit globally. The record is sung in Zulu and the melody for me is timeless and so euphoric, so I wouldn’t be surprised at all if in the coming years, it inspires different hit versions in different languages and propels the genre to a more global stage. My album of the year is Olivia Dean’s The Art Of Loving.” ANGE PATTICOUniversal Music Group UK What would you have liked to see more of in 2025? “There are a lot of myths out there about our industry, but there are some great stories of people who care about artists, love music and are doing amazing things that I would love to see uncovered more.” What was your favourite track and album of the past year? “Olivia Dean’s Man I Need just makes me feel happy, and I’m going with Lola Young’s album. She is amazing, curious and I think she has got a lot to give.” ALED HAYDN JONESBBC Radio 1 What was the most important thing Radio 1 did for the music industry this year? “Radio 1 is so proud to be able to support artists from their first ever play through to headlining shows. So, seeing artists like Tom Grennan headline Big Weekend, or Myles Smith on the main stage after playing the Introducing stage last year, is amazing. We’ve also launched Radio 1 Anthems and Radio 1 Dance, which will give even more space for artists across the UK.” This time last year you told us AI didn’t worry you – has that stance changed at all? “There are huge creative opportunities for all of us with GenAI within the music and broadcast industries. However, it’s still early stages and we are keeping a close eye on developments. Our priority is supporting the UK music industry, and we’re focused on new music and new artists for our audience.” What was your favourite track and album of 2025? “Man I Need by Olivia Dean and People Watching by Sam Fender.” LUCINDA TSE-HALLBMG/ESEA Music In our interview after ESEA Music won at the Women In Music Awards, you talked about the “power of collective progress” in the industry – can you expand on that? “Progress isn’t achieved in a vacuum, and I believe that there is so much strength in individual communities identifying their own needs in order to advocate for change and equality. Winning the award has encouraged us to reflect on the work of past winners, whose achievements highlight the intersectionality across our communities. ESEA Music itself comprises many different cultures, ethnicities and gender identities, and some of us are parents or primary caregivers alongside our work. When one community advances, it creates a ripple effect to support and hopefully allow others to also gain. We have a responsibility to bring other marginalised groups along with us.” What pleased you most about the music industry this year? “There’s more of a focus on building a world around an artist, not just a viral song or moment. Sustainability is such a key factor in the industry and it should be looking to help the next generation of artists.” What was your track of 2025? “Rosalía’s Berghain is so visually and sonically exciting, and I’m enjoying reading the discourse around what is considered opera, and how new audiences are discovering opera and classical music through this song.” And your favourite album? “Jamie Woon’s 3, 10, Why, When. I am just the biggest fan of his songwriting, it resonates with me on such a personal level.” DENIS DESMONDLive Nation Do you expect the boom in stadium shows to continue into?2026? “We hit new highs this year with a record summer of over 70 stadium shows across the UK and Ireland. But the standout was, of course, Oasis coming back and selling out every show. Next year is already shaping up to be huge, with Bon Jovi, The Weeknd, Lewis Capaldi, Calvin Harris and Pulp all set to play huge shows. Bad Bunny has also sold out shows at the Tottenham Hotspur Stadium.?At the other end of the scale, we’re championing incredible emerging talent – from Myles Smith and KingFishr, to Cliffords and Holly Humberstone. We’re confident they’ll be the headliners everyone’s talking about in the years to come.” What was live music’s biggest success of 2025? “Bringing a wider variety of shows to fans is incredibly important. UK and Irish festivals continue to serve diverse audiences, and our regional Cuffe & Taylor shows are a great example of how?we deliver artists to previously underserved areas. The demand truly is nationwide and listening to whatthe fans want will always be where real success lies.” What was your track and album of the year? “The Subway by Chappell Roan and [for album] Reverie by Amble.” DAN CHALMERSYouTube You spoke to Music Week for our Oasis special this year – what does the return of those kinds of acts do for the music market? “It reminded everyone of the power of great songs, the strength of community and how music can take you away from the stresses of everyday life. Great artistry never fades. It’s also inspiring to see a new generation discovering the great bands of the past. Moments like the Oasis return bring real buoyancy to the market and open doors for new artists who emerge in that cultural slipstream. It also reinforces the global impact and importance of British bands and the UK’s creative influence worldwide.” Why should the UK industry be proud at the end of 2025? “We’ve seen a wave of exciting new British artists come through: Sam Fender, Lola Young, Olivia Dean, Myles Smith and Raye to name a few. The UK should be incredibly proud of this next generation of global superstars who are taking our music culture to the world.” What was your favourite track and album of 2025? “Parachute by Hayley Williams stood out for me. It’s bold, beautifully written and emotionally rich. My favourite album was I Barely Know Her by Sombr. Every track holds up. He’s a true songwriter and I think he has the potential to become a global icon.” JO TWISTBPI The BPI has campaigned on generative AI – are you winning the policy debate? “It’s not been the easiest of debates, but I think we can be proud of our relentless policy work and of the collective Make It Fair campaign, which has seen not just the music sector, but all the creative industries come together with great impact, including hundreds of artist voices and powerful advocacy in Parliament. It shows what can be achieved when we come together. Of course, there is a great deal more work and hard campaigning needed if we are to win this critical argument and land on an acceptable outcome, but it feels like the government is at least finally listening now.” How have UK artists improved their global standing in 2025 amid intense competition? “It’s been a challenging period, but we’re seeing encouraging green shoots, such as the impact of Olivia Dean, Lola Young, Central Cee and Sleep Token. With the right policy environment and government support for British music businesses that back and invest in great talent, artists can realise their full creative potential.” What was your track and album of 2025? “CMAT’s Euro-Country and its parent album. She is an incredibly authentic artist.” DAVID VENTURASony Music Publishing UK You won the Music Week Award for Publisher this year – what do you have to do to repeat that feat come next May? “It has been a stellar year for our songwriters and artists with British music shining globally. We hope 2026 will continue on the same trajectory. Since celebrating and gratefully receiving this year’s win, everyone at SMP UK has doubled down on their work, effort and commitment to our roster and this has resulted in us growing our representation in the UK charts and airplay.” The company has a long relationship with Lola Young – what makes her a brilliant songwriter in your opinion? “Because this is who Lola is: she writes what she feels and what she thinks. Lola is true to herself and she has always been. The audience wants thoroughness, honesty and sincerity in a world which is becoming more fake by the second. Lola is a natural-born and self-made songwriter; she puts everything into her art. There is only one Lola Young on this planet and that’s probably why the whole planet loves her so much.” What was your favourite track and album of 2025? “Prospa – This Rhythm. Because it’s right up my street. And Lola Young’s I’m Only F**king Myself, because it’s simply a masterpiece, every single song owns its space on this record.” MICHELLE ESCOFFERYSongwriter/The Ivors Academy Trust What were the key challenges for the songwriting community in 2025? “The biggest challenge remains ensuring that songwriters are fairly valued. High levels of attrition and the ongoing restructuring of business models and major corporations are creating instability, impacting investment, relationships, mental wellbeing and, ultimately, creativity. Another key challenge is access – nurturing talent at all levels, particularly from diverse and underrepresented backgrounds who continue to face barriers to opportunity, development and visibility.” Can you share your favourite track and album of 2025? “Worst Behaviour by Kwn and Home? by Wretch 32, which resonates deeply with me as a second-generation British citizen born to Jamaican parents. A reminder of the power of music.”

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