Yeonjun Breaks His Own Solo Record With Ice Cream

TXT member Yeonjun has turned his second solo mini album into an immediate numbers story, selling 661,924 copies on its first day and pushing past his previous first-week total in just 24 hours. The result matters because it shows that his solo identity is not only a fandom talking point but a measurable commercial force across albums, songs, music video traffic, and short-form promotion.

According to Hanteo Chart figures cited in Korean reports, NO LABELS: PART 02 sold 661,924 copies on July 10, the day of its release. That single-day total placed the album at No. 1 on the daily physical album chart and exceeded the 601,105-copy first-week sales figure recorded by Yeonjun's earlier solo mini album, NO LABELS: PART 01.

The speed of the jump is the headline. In K-pop, first-week sales are often treated as a key measurement of fandom size, anticipation, and repeat buying power. Yeonjun clearing his previous first-week mark on day one gives the release a clear before-and-after point in his solo career, especially because he is already known globally as a member of TOMORROW X TOGETHER.

A Solo Comeback Built Around Hard Numbers

The album's first-day performance also came with a broader international chart picture. As of the morning of July 11, Korean reports said NO LABELS: PART 02 had reached No. 1 on the iTunes Top Albums chart in 11 countries and regions, including Japan, Thailand, and Saudi Arabia. The album also appeared at No. 5 on the Worldwide iTunes Albums chart and No. 10 on the European iTunes Albums chart.

The title track, Ice Cream, showed a similar pattern on the song side. It reached No. 1 on iTunes Top Songs charts in 10 countries and regions, including the United Arab Emirates, Vietnam, and the Philippines. Domestically, the song topped Bugs' real-time chart at 2 p.m. on release day, adding a Korean streaming signal to the physical album and download chart results.

Those figures point to a release that is not leaning on one format alone. Physical sales, overseas digital purchases, a Korean real-time chart, and YouTube activity are all moving at once. For an idol solo project, that matters because it shows that the concept is traveling beyond a narrow collector base and into multiple ways fans now consume K-pop.

The music video added another visible metric. Korean coverage noted that the Ice Cream video climbed to No. 2 on YouTube's worldwide music video trending chart. The video has drawn attention for a relationship-driven setup that plays with attraction and restraint, giving Yeonjun a performance frame that is lighter and more summery than the phrase "solo record" might suggest.

Why The Promotion Started Before Release Day

The album's early momentum did not begin only when sales opened. From July 3 to July 5, Yeonjun held an offline promotional event in Seongsu-dong, Seoul, built around an ice cream truck, a game, and a challenge format. Around 1,350 people visited the site over three days, according to Korean reports.

The event was designed for social platforms as much as for the street. During the promotion period, challenge videos were reportedly uploaded at a pace of about one per minute, while the Ice Cream challenge sound reached No. 14 among rising Instagram audio tracks. User-generated content connected to the promotion increased by about 117 percent on Instagram and 19 percent on TikTok during the same period.

Yeonjun's surprise appearance on the final day gave the rollout its strongest fan-service moment. He performed part of the Ice Cream choreography in person, turning what had been a participatory pop-up into a shareable comeback scene. Korean coverage described fans responding with loud cheers as clips from the event spread online.

There was also a digital component. An Ice Cream Generator microsite allowed users to choose one of six ice creams and add toppings that changed the sound of the track. Reports said the site drew 80,000 cumulative visitors before its scheduled close on July 10 at 1 p.m., giving the comeback a playful route into the album's sound before the full release.

The TikTok Live Figure That Shows Fandom Scale

The biggest promotional number arrived one day before the album. On July 9, Yeonjun held a release party at Layer Studio 11 in Mapo-gu, Seoul, with an on-site performance and online streaming for MOA, TXT's fandom. Korean reports said the TikTok live stream drew 2.8 million unique viewers.

That figure was described as the highest for a TikTok stream by any artist worldwide this year. It gives the comeback a global social-media marker that is easier for casual readers to understand than chart codes alone: millions of unique viewers tuned in before the album was even out.

For Yeonjun, the number also sharpens the meaning of the NO LABELS series. The title suggests freedom from a fixed category, but the rollout is highly structured: physical demand, global iTunes movement, a TikTok event, a microsite, an offline pop-up, and music-show stages all feed the same image of a solo performer who can carry attention across platforms.

His first broadcast stage for Ice Cream took place on KBS2's Music Bank on July 10. Korean reports highlighted the cool summer feel of the performance, his stable live delivery, and choreography he helped create. The performance framed the track as what local coverage called a "Yeonjun-style summer song," a phrase that fits both the season and the bright visual language of the comeback.

What Comes Next For Yeonjun's Solo Run

Yeonjun's music-show schedule was set to continue immediately after release week. Reports said he would perform on MBC's Show! Music Core on July 11 and SBS's Inkigayo on July 12, extending the first wave of promotion across major Korean weekend music programs.

The album itself includes six tracks: Ice Cream, Vanilla, Baby Wassup?, No More Disco, Fxxking Star, and Long Way Long Ride. Korean coverage described the project as moving through rap rock, funk rock, R&B, pop, and alternative hip-hop, suggesting that the "no labels" idea is meant to apply to genre as much as branding.

The next question is whether the first-day sales burst becomes a longer chart story. Even if later totals shift the conversation, Yeonjun has already secured a clear solo milestone: he beat his own first-week benchmark in one day, entered multiple international charts, and turned a summer single into a campaign fans could watch, stream, visit, remix, and share.

That is why the comeback is larger than a standard release notice. It gives TXT's Yeonjun a new solo reference point, one built not on a single viral clip but on a cluster of numbers that all say the same thing: his individual draw is now big enough to stand on its own.