TXT’s Yeonjun Turns Ice Cream Into a Summer K-Pop Rollout Across Stage and Stores

TXT member Yeonjun is turning Ice Cream into more than a seasonal song title. His latest solo rollout is now moving on two tracks at once: a performance-led K-pop campaign built for short-form replay, and a retail collaboration that puts the same summer concept into convenience stores.

The momentum around the track grew after Mnet digital studio M2 released a Studio Choom performance video on July 11. According to Sports Donga, the clip strips the presentation down to Yeonjun’s movement, using controlled lighting and camera work to keep attention on the choreography rather than on elaborate set pieces.

That approach fits the way K-pop performance clips travel in 2026. Rather than relying only on scale, the Ice Cream choreography leans into clean, memorable gestures that viewers can recognize quickly. Sports Donga reported that Yeonjun took part in creating the choreography, which includes motions inspired by scooping and melting ice cream as well as gestures timed closely to the lyrics.

A Performance Built For Replays

The strategy is simple but effective: make the hook visible. A summer single needs a sound that can stick, but in K-pop it also needs a physical language that fans can repeat, clip, and share. The article’s emphasis on the choreography’s less complicated structure suggests that Ice Cream is being framed as a performance that can spread through repetition, not just through one polished official upload.

Early numbers point to that visibility already taking shape. Sports Donga reported that the Ice Cream music video appeared at No. 59 on YouTube’s global daily popular music video chart dated July 10 and also entered popular music video charts in 19 countries and regions. For a solo release, those placements help show how a targeted performance concept can expand beyond an artist’s core domestic audience.

The album data adds another layer. Yeonjun’s second mini album, NO LABELS: PART 02, sold more than 660,000 copies on its first day according to Hanteo Chart figures cited by Sports Donga. The report said the total exceeded the first-week sales of his previous release and marked the highest first-day sales for a Korean solo album released this year.

From Song Concept To Store Shelf

At the same time, Ice Cream is being extended into a literal product tie-in. MoneyToday reported that GS25, operated by GS Retail, will sequentially launch two Sour Lemon Yogurt ice cream products from July 16 in collaboration with Yeonjun, yogurt ice cream brand Yoajung, and dessert maker Lolomelo.

The timing is deliberate. MoneyToday said the project was planned around both the peak summer frozen-dessert season and the fact that Ice Cream is the title track of Yeonjun’s mini album. The cup version, priced at 4,500 won, uses lemon yogurt cream with apple-flavored jelly and is scheduled to arrive first. A bar version, priced at 2,500 won, follows on July 21 with yogurt sherbet, lemon syrup, and a white yogurt chocolate coating.

For fans, the dessert is also a collectible product. The cup includes a mini photocard based on the album concept and a random sticker, while the bar includes a random sticker. That turns the purchase into a small piece of album-era merchandise, which is exactly where K-pop retail collaborations have become most competitive: not just selling a flavor, but offering an object tied to a comeback’s visual identity.

GS Retail’s ice cream MD Lee Ha-rim told MoneyToday that ice cream is evolving beyond a simple dessert into an item through which consumers experience content such as K-pop and characters. That comment captures why the tie-in matters. It is not an isolated celebrity endorsement; it reflects how music releases are increasingly packaged as lifestyle campaigns that move across video platforms, fan goods, food products, and social sharing.

For Yeonjun, the combined push gives Ice Cream a practical advantage. The performance video offers the online hook, while the GS25 collaboration gives fans a physical, limited-feeling touchpoint during the same promotional window. If the song continues to gain traction, the retail campaign could help keep the title visible in everyday spaces long after the first wave of comeback content has passed.

The bigger question is whether this model becomes a template for more solo promotions. Idol groups have long used branded collaborations, but Yeonjun’s rollout shows how a solo track can be shaped into a full seasonal campaign without losing focus on performance. In this case, the title, choreography, album packaging, and convenience-store product all point in the same direction: an accessible summer image designed to be seen, shared, and collected.