How instrumental duo ARKAI’s unbreakable bond earned them a Grammy
Jonathan Miron and Philip Sheegog of ARKAI discuss their journey from Juilliard to their Grammy-winning album "Brightside"
From left, Jonathan Miron and Philip Sheegog at the 2026 Grammys.
Matt Winkelmeyer by Getty Images for the Recording Academy
Words by Daniel Anderson
The traditional image of a string duo in stiff tuxedos and hushed concert halls is effectively dismantled the moment ARKAI takes the stage. Composed of violinist Jonathan Miron and cellist Philip Sheegog, this electroacoustic pair has spent the last seven years forging a sound they describe as "Hans Zimmer meets 2CELLOS." The duo's synergy is built on a foundation of immense family sacrifice and early discipline. Miron, born in Taiwan and raised in Singapore, was a four-year-old prodigy who listened to Yo-Yo Ma on repeat until his parents commissioned a cello for him; when the instrument proved too large, he pivoted to the violin and never looked back. His path eventually led him from Singapore to Cincinnati and finally to Juilliard. Sheegog, an Anaheim native, found his way to the cello after his parents wisely steered him away from the drums, discovering his "spark" only when he realized the instrument could transcend classical boundaries. Together their partnership has seen them open for Jon Batiste and perform everywhere from the Emmy Awards to Lakers playoff games.
Beyond their original compositions, ARKAI has built a massive community through their fearless creative range, which includes electrifying covers of film, TV, and anime scores. Their genre-defying approach recently reached a career-defining pinnacle at the 2026 Grammy Awards, where their sophomore album, Brightside, took home the trophy for Best Contemporary Instrumental Album. It was a win that validated their "misfit" status and proved that cinematic, instrumental music can resonate deeply. Appropriately, the name "ARKAI" stems from the Greek word for "leaders," a moniker that encapsulates their mission to venture into uncharted waters.
ARKAI spoke with JoySauce on Tuesday morning following their Grammy win.
This interview has been edited for clarity and length.
Daniel Anderson: You both went to Juilliard, but didn’t actually meet there. How did ARKAI come together?
Jonathan Miron: It’s kind of wild. Juilliard has about 700 students in one building, and somehow we never met. Instead, Juilliard invited us to be ambassadors at an Artist as Citizen conference hosted at the school. After one of the conference events, there was a party. We both had our instruments with us and just started jamming. We jammed for over an hour. There were maybe 50 or 60 people in the room, and they started dancing and singing along. We weren’t playing Mozart or Beethoven, this was something totally different. To meet another classical musician who could improvise and jump between genres like that felt magical. That was the spark.
DA: Did you immediately feel like this could become a long-term partnership?
JM: It was like a really good first date, you don’t know where it’s going, but you know it’s different. We tried to recreate that jam the next day, and it was good, but it wasn’t that moment. Then, a few months later, I got invited to perform at a conference hosted by Barack Obama’s sister. Gandhi’s grandson was there, Parkland survivors, truly incredible people. I had a five-minute slot and thought, “Well, there’s that one kid, Philip.” I called him and asked if he wanted to write our first piece together for this conference.
We had never written a legitimate composition before, and he foolishly said yes. After the performance, people came up to us assuming we had been playing together for years. That was the moment we thought, “Maybe there’s something here.”
Philip Sheegog: At the time, I don’t think either of us understood the significance of those first steps. There was no vision of building a full-time duo or a long-term career. It was more like, “Let’s try the next thing.” But each step led to another domino falling, and suddenly it became clear that this could be something bigger if we kept nurturing it.
DA: When did ARKAI officially become ARKAI?
JM: After that conference, we played a private event at a penthouse on Fifth Avenue with celebrities, A-listers in attendance and we got a standing ovation. We looked at each other and thought, “We can’t be Jonathan and Philip anymore.” We were young and blessedly naive. If we’d known how big some of those moments were, we might have been terrified. Instead, we just went for it. Seven-and-a-half years later, we’re standing on the Grammy stage holding a trophy for an album we wrote, produced, and mixed ourselves. It’s surreal.
DA: Brightside is instrumental and deeply emotional. How did you approach storytelling without lyrics?
PS: The total amount of time the record has been in development is about a year and a half. It started around two years ago, the last time we attended the Grammys, when we decided to stay in L.A. for a month for a creative retreat. That was where the first ideas that would become Brightside were first put down. Some tracks take longer than others. Some come out quickly. As you can hear in the album, it's a wide array of sounds. We have one track pulling from EDM influence, one pulling from trap and hip hop, and some paying homage to classical roots. We were just writing and letting all the creative ideas out. We weren't thinking, "We need to assemble an 11-track album in this order." We were just letting the creativity flow. We had this cornucopia of wildly different ideas, and the challenge was figuring out how they fit together as an album.
JM: We were sitting with maybe 12 or 13 ideas, joking that the "Contemporary Instrumental" category [of the Grammys] is like the "misfits" category for music without a specific genre. I was on a plane, likely flying to L.A., listening to all these rough mixes. I knew we needed to tell a story and create a journey, especially since the music was so varied. I was listening to a rough idea for the track that is now the closer, "Horizons," and I had an "Aha!" moment. I realized this whole album is about gratitude. Our first album, released a year ago, was a soul-searching record where we were trying to define our voice as outsiders. This album has so much more courage, confidence, and gratitude.
In a time when the world is so overwhelming, we listen to this album and get a feeling of gratitude for the journey, for the fact that we get to do what we love, and for the people who have lifted us up. I thought, "What if we focused the album on that? Would people gravitate toward that in such a difficult time?" Once I had that anchor, the rest made sense. "Horizons" is the perfect closer; It’s actually miraculous because only one demo from that original LA trip didn't make the cut.
DA: The music videos for tracks like “Brightside” and “Sun Drifter” have a cinematic touch to them. Describe how you create those videos and where that visual eye comes from.
PS: The videos are a really fun part of the whole project. It’s literally just Jonathan, myself, and a videographer collaborator. We work with a great friend in New York and a guy out in L.A.—so it's just one videographer and the two of us. Together, Jonathan and I concept, storyboard, and plan the shot list. I act as the technical operator, handling the editing and the coloring, but all the creative direction is something we do together. Just like the music, it’s a collaborative process and it is extremely indie because we’re wearing so many hats. This means our fingerprints are all over the creative decisions. Everything from the locations and the clothing to the shot choices and editing speed—those are all decisions we make together. Hopefully, that means the visual representation of ARKAI is a perfect fit for the musical representation, because we’re the same people making both.
JM: They’re totally epic because we’re just suckers for that aesthetic. We grew up loving Stanley Kubrick, Lord of the Rings, and Star Wars. We love all that stuff.
DA: How would you describe your creative partnership and what you bring out in one another?
JM: Being an artist today is like running a small business; you need a full team, the visionary and the technical experts to make it. Honestly, Philip is one of the most savvy, technical people I know; he’s an absolute whiz. If you give him a problem, he’ll figure it out. He’s an incredible engineer, producer, and creative. There is no one who can play like him, but it’s more than his cello technique; it’s the combination of so many unique skills that makes him a total badass.
PS: I like to think of us like Steve Jobs and Steve Wozniak. The "two Steves" built Apple. Woz was in the back room building the machine, while Jobs led with the vision. Jobs would sometimes infamously lead the team without knowing exactly how they’d get there, but he trusted the direction even when no one else could see it. The parallel is obvious: I’m the nerd in the back, and Jonathan has been the visionary from the beginning. We have documents from 2018 and 2019 outlining a five-year vision plan from when we were first starting out. He knew the steps and the bigger vision. In an industry where there isn't a well-paved path, especially for a group like us that sits between so many worlds, Jonathan’s ability to find a way through is prodigious.
As business partners, it’s an incredibly potent combination. It allowed us to build this entire operation, both artistically and commercially, essentially as a two-man team until just a few months ago. The entire Brightside project was just the two of us, plus a videographer and a couple of producers for "pixie dust." It’s bigger than just the music; it’s the marketing, the storytelling, the community building, and the Grammy campaign. People feel the energy on stage, but they don’t always see what goes on behind the scenes that allows us to get there.
JM: The "hot take" is that in this day and age, it’s not enough to just be a great musician. You need the full package. You have to be a visionary and create your own opportunities; otherwise, you stagnate by relying on others. In an industry that is ever-evolving and can be brutal, I’m just very grateful we have that.
DA: Walk me through Grammys Day.
PS: The first half of the day was fairly normal as far as attending the Grammys goes. Even earlier in the day, walking the red carpet and doing press, you’re noticing people and realizing, "Oh, I know who that is." It was an incredible experience. We then went into the first ceremony, which is quite long because they hand out almost 100 awards. We were about fourth or fifth from the end, so it was a lot of being patient, staying cool, and breathing. It’s a great show, and it’s wonderful to see your peers being awarded. Once our name was called and we gave our speech, it became a whirlwind. It was a blur of photographers, interviews, and "Grammy Live." There were a few "hurry up and wait" moments as they ushered other winners through, but for me, the highlight was meeting a hero of mine, film composer Ludwig Göransson, who was just hanging out backstage. We didn't even get into the main ceremony until halfway through because of all the extra press.
JM: After the show, it was time for the after-parties. The official after-party was at the Grammy Museum this year, which was beautiful. Being outside, surrounded by other nominees, was a blessing. The weather was infinitely better than two years ago when an atmospheric river hit L.A. and people were literally wearing trash bags to stay dry; this year was a balmy 65 degrees.
DA: How does having a Grammy shape or impact your artistry going forward?
JM: It’s more that we feel energized. The work never ends; if anything, this is a new chapter. We see this as the jet booster that launches us into orbit. We are just so honored and excited to see what we dream of next.
Published on February 27, 2026
Words by Daniel Anderson
Daniel Anderson is a disabled Chinese American adoptee based in Seattle. His freelance writing specialties include K-pop, entertainment, and food. He believes that any restaurant can be a buffet, and the key to success is to take a nap each day. Follow his adventures on Instagram @danzstan.