Dolly Parton‘s sister, Freida, has issued an apology for alarming fans of the country icon earlier this week when she asked for prayers for her sibling as she dealt with some health issues.

In a statement posted on Facebook on Tuesday (Oct. 7), Freida wrote, “I want to clear something up. I didn’t mean to scare anyone or make it sound so serious when asking for prayers for Dolly,” she said. “She’s been a little under the weather, and I simply asked for prayers because I believe so strongly in the power of prayer. It was nothing more than a little sister asking for prayers for her big sister. Thank you all for lifting her up. Your love truly makes a difference.”

The update came after Freida sparked serious concern earlier in the day on Tuesday when she told her followers she had been “up all night praying for my sister, Dolly.” She added, “Many of you know she hasn’t been feeling her best lately. I truly believe in the power of prayer, and I have been [led] to ask all of the world that loves her to be prayer warriors and pray with me. She’s strong, she’s loved, and with all the prayers being lifted for her, I know in my heart she’s going to be just fine.”

The post came a week after Parton postponed her planned six-show December Las Vegas residency, citing “health challenges,” writing in a statement at the time that her doctors told her she has to have “a few procedures,” promising she will be back on stage soon. “As I joked with them, it must be time for my 100,000-mile check-up, although it’s not the usual trip to see my plastic surgeon!,” Parton, 79, joked.

Parton’s rep, Olly Rowland, told the Las Vegas Review-Journal on Tuesday that Dolly is fine, explaining that, “It’s just the kidney stones, and the procedure she needs to resolve those. It looks like her sister posted, and it got quite a bit blown out of proportion, weirdly.” The paper said that Parton is well enough that she plans to record a video on Wednesday for an undisclosed project from her home in Nashville.

Yungblud has responded to critics of his Ozzy Osbourne tribute at the MTV VMAs calling them “bitter and jealous.”

The Doncaster-born musician performed at the MTV VMAs last month (Sept. 7) alongside members of Aerosmith, giving an impassioned rendition of Black Sabbath song “Changes.” Yungblud – real name Dominic Harrison – also sang the 1972 hit at Ozzy’s final show at Villa Park, Birmingham on July 5 at the all-star Back to the Beginning tribute show; Osbourne died of a heart attack a fortnight later (July 22), aged 76.

Speaking on a podcast with Ozzy’s son Jack, the pair discussed criticism of his performance from fellow musicians. Dan Hawkins, guitarist for British rock band The Darkness, wrote on his Instagram that Yungblud’s performance with Extreme guitarist Nuno Bettencourt and Aerosmith’s Steven Tyler and Joe Perry was “cynical, nauseating and, more importantly, s–t.”

Darkness frontman Justin Hawkins added that Yungblud was the “latest in a long line of – I’m sorry to say it – poseurs” and that he “comes off like a TV personality doing rock.”

Speaking on the Trying Not To Die podcast, Yungblud and Jack Osbourne responded to the criticism. “You will never see someone that’s bigger or more emotionally evolved than you talk s–t on you,” said Yungblud in the episode. “You ain’t ever going to see f–king [Metallica singer] James Hetfield slag off a young rock star, because he’s James f–king Hetfield. They don’t need to insert themselves into a conversation. Because they’re emotionally evolved and they know what it takes to get somewhere.”

Jack Osbourne added his thoughts on the flap. “After the VMAs there were some rock stars slagging you off and being like ‘oh, he’s just clout chasing and jumping on the bandwagon of Ozzy passing,’” said Jack. “I want to use this opportunity to talk about that.”

“You were so much more involved,” he continued of Yungblud’s involvement in Ozzy’s life. In 2022, Ozzy appeared in the music video to Yungblud’s “The Funeral” and became a mentor to the singer in his final years. Osbourne continued, “These people didn’t f–king know, they don’t know the f–king story of it, the things we know, and I was kind of like, ‘F–k you, dude’. Dom meant something to my dad, my dad meant something to Dom.” 

Yungblud added, “I think the strangest thing about that was all I was trying to do was my best for your old man, because he gave me such a gift. When people try and intellectualize a sense of spirit and six musicians on a stage going ‘f–king love you man’, it’s just bitter and jealous.

“They are doing the things they say we are doing. They’re trying to insert themselves into a conversation to obtain some kind of relevancy, on the back of us honouring one of the greatest rock stars that ever lived. And then they talk about authenticity and stuff like that. I just loved your dad.”

See the full conversation below.

Yungblud released his fourth studio album, Idols, in June, which topped the U.K. Albums Chart and peaked at No. 15 on the Top Rock & Alternative Albums chart. A collaborative EP with Aerosmith, One More Time, will be released on Nov. 21.

Taylor Swift’s The Life of a Showgirl has now earned 3.5 million equivalent album units in the United States, according to initial reports to data tracking firm Luminate, since the album’s release on Oct. 3. Of that sum, traditional album sales (physical and digital purchases) equal 3.2 million copies, with the remaining 300,000 powered by streaming activity of the songs on the album.

Luminate’s current tracking week began on Friday, Oct. 3, and ends on Thursday, Oct. 9.

With 3.2 million copies sold, The Life of a Showgirl continues to near the record for the largest sales week for an album in the modern era (since 1991, when Luminate began electronically tracking music purchases). The modern-era single-week sales record is held by the opening week of Adele’s 25, when it debuted with 3.378 million copies sold in 2015.

However, as The Life of a Showgirl has earned 3.5 million equivalent album units, the album has now secured a new record for the largest week, by equivalent album units, for an album, since the Billboard 200 chart began ranking the week’s most popular albums by equivalent album units in Dec. 2014. The previous record was held by the debut week of Adele’s 25, which bowed with 3.482 million units on the Dec. 12, 2015 chart (mostly powered by the 3.378 million individual purchases of the album, with the remaining sum driven by track purchases and streaming).

Equivalent Album Units Explained: Each equivalent album unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. (None of the tracks from The Life of a Showgirl are available to purchase individually, so the album does not have any track sales contributing to its total thus far.)

The Billboard 200 transitioned from a pure album sales-based ranking to a multi-metric, units-based ranking, with the Dec. 13, 2014-dated chart. From that point forward, albums were ranked on the Billboard 200 by equivalent album units earned — meaning that in addition to album purchases counting towards an album’s chart placement, streams of songs from an album, as well as track purchases, would also contribute towards an album’s position on the weekly chart.

While the Billboard 200 has incorporated streams and track purchases since Dec. 2014, Billboard continues to publish weekly album sales-only charts, including the overall Top Album Sales chart (which ranks both current and older/catalog titles), and Top Current Album Sales.

Luminate’s sales, streaming and airplay data powers Billboard’s charts. All numbers cited in this story are for the U.S. only.

Life of a Showgirl’s first-week numbers (equivalent album units, total traditional album sales and streaming figures) are expected to be announced by Billboard on Sunday, Oct. 12, along with its assumed large debut on the multi-metric Billboard 200 albums chart (dated Oct. 18).

For all chart news, follow @billboard and @billboardcharts on both X (formerly Twitter) and Instagram. 

PREVIOUSLY (OCT. 7): Taylor Swift’s The Life of a Showgirl has reached 3 million in traditional album sales (physical and digital purchases), across all versions of the album, according to initial reports to data tracking firm Luminate. On the album’s first day of release (Oct. 3), it cleared 2.7 million sold. After Showgirl’s first day, it captured the second-largest sales week for an album in the modern era — since Luminate began electronically tracking data in 1991. The only larger sales week in that span of time was registered by the opening frame of Adele’s 25, which sold 3.378 million copies in its first week in 2015.

Showgirl has earned over 3.2 million equivalent album units in the U.S. With 3.2 million equivalent album units earned, Showgirl already has the second-largest week, by equivalent album units, for any album since the Billboard 200 began ranking the week’s most popular albums by equivalent album units with the Dec. 13, 2014-dated chart. The largest week, by equivalent album units, for any album, in that span of time, was registered by the debut week of Adele’s 25, which launched with 3.482 million units on the Dec. 12, 2015 chart.

Showgirl got a mid-week boost with the release of four new CD variants of the album, exclusively sold through Swift’s official webstore. Available for a limited time, each CD had alternate cover art, the album’s 12 songs, plus two unique bonus tracks for each CD (alternate versions of songs from the album). These four CDs join 23 previously available physical versions of the album (across vinyl, CD and cassette) and two digital download editions (a standard wide version, and iTunes-exclusive version with a bonus video). Also helping Showgirl was a restock of a previously available deluxe CD boxed set, sold through Swift’s store, containing a branded cardigan sweater and a copy of the CD.

Swift herself has been on the promotional trail, chatting up the album on radio programs and sitting down for an interview on NBC’s The Tonight Show Starring Jimmy Fallon (Oct. 6). Her film Taylor Swift: The Official Release Party of a Showgirl barnstormed movie theaters over the Oct. 3-5 weekend, coming in atop the box office at U.S. and Canada movie theaters.

As for Showgirl’s streaming start – its 12 songs generated over 300 million on-demand official streams in its first two days in the U.S. (Oct. 3-4). Swift holds the record for the largest streaming week for an album, when The Tortured Poets Department debuted with 891.37 million on-demand official streams for the 31 songs on its deluxe edition in 2024.

The most-streamed song on Showgirl in its first two days is “The Fate of Ophelia,” with more than 48 million official on-demand steams. That number could grow significantly following the song’s official music video premiere on YouTube on Sunday, Oct. 5.

If The Life of a Showgirl debuts atop the Billboard 200, it will mark Swift’s 15th No. 1 album, lifting her past Drake and JAY-Z for the most No. 1 albums among soloists, and becoming the sole act with the second-most No. 1s. She is currently tied with Drake and JAY-Z with 14 No. 1s each, and only The Beatles, with 19 No. 1s, have more, dating to when the chart began publishing on a regular, weekly basis in 1956.

All 14 of Swift’s full-length studio albums and re-recorded projects from 2008’s Fearless (her second album) through 2024’s The Tortured Poets Department have debuted at No. 1.

PREVIOUSLY (OCT. 4): Taylor Swift’s The Life of a Showgirl album is off to a sparkling start in the United States. On its first day of release, Oct. 3, the set sold 2.7 million copies in traditional album sales (physical and digital purchases) across all versions of the album, according to initial reports to data tracking firm Luminate. That marks Swift’s biggest week ever, and the second-largest sales week for any album in the modern era — since Luminate began electronically tracking data in 1991. The only larger sales week in that span of time was registered by the opening frame of Adele’s 25, which sold 3.378 million copies in its first week in 2015.

Showgirl also stuns with a new modern-era record (1991-present) for the most copies of a vinyl album sold in a single week, having already sold 1.2 million copies on wax. That breaks the single-week record, set by Swift in 2024, when her last album, The Tortured Poets Department, sold 859,000 copies on vinyl in its first week.

Further news of first-week building sales and streaming activity for the album, as provided by Luminate, will be reported in the coming days.

The Life of a Showgirl was announced on Aug. 12, and Swift’s official webstore began taking preorders for the album soon after. The set was issued as a widely available streaming edition and in three widely available versions to purchase across all participating retailers (a standard CD, vinyl and digital download album). There is a plethora of further variants of the album to purchase, with more details on the assorted versions later in this story.

Sales Story: The 2.7 million-sales number registered for Showgirl is inclusive of both over-the-counter and download purchases of the album made on Oct. 3, in addition to what is assumed to be a large number of pre-orders of the physical album through Internet retailers (such as Swift’s webstore, Amazon, Target, etc.) shipped to customers for arrival on release day, as well as pre-orders of the digital download album that were redeemed on release day (via the iTunes Store and other similar sellers).

After one day on sale, The Life of a Showgirl is the top-selling album of 2025 in the U.S., surpassing the 520,000 sold of The Weeknd’s Hurry Up Tomorrow, through the week ending Sept. 25.

The Life of a Showgirl’s sales are bolstered by its availability across 23 different physical configurations: 12 CDs, eight vinyl LPs, two deluxe CD boxed sets containing branded clothing and a CD, and a cassette. Four of the physical editions were exclusively sold by Target stores in the U.S. (three CDs and one vinyl), while two (a standard CD and vinyl) were available to purchase at all participating retailers.

Of the remaining 17 physical iterations, all were exclusively sold via Swift’s webstore, and most were sold for limited windows of time since the preorder launched in August. Her store carried the two deluxe CD boxed sets (one contains a branded cardigan sweater and a CD, the other contains a branded crewneck and a CD); four signed CDs; four deluxe CDs in premium packaging containing a collectible charm and photo cards; six vinyl LPs; and the cassette.

On the digital download side, there is a standard digital download available to purchase through all download sellers, as well as an iTunes Store-exclusive version that comes with a short bonus video. (Of note, none of the tracks from the album are available to purchase individually.)

To compare, Swift’s last studio album, The Tortured Poets Department, had 19 different physical iterations available in its first week (nine CDs, six vinyl LPs and four cassettes) and two digital download versions (the standard 16-song album, and the surprise deluxe 31-song Anthology edition).

Vinyl Victory: Collectively, the eight vinyl LPs for Showgirl combined to sell 1.2 million copies on the album’s first day of release — immediately breaking the modern-era record for the most vinyl copies of an album sold in a single week. Swift herself previously held the record with 859,000 copies of Poets sold in its first week.

Million-Sellers Club: Even though we’re only one day down into the tracking week, The Life of a Showgirl sashays into the single-week million-sellers club. With 2.7 million already sold, Showgirl has the second-largest sales week of the modern era (1991-present). It stands behind only the opening week of Adele’s 25, which bowed with 3.378 million sold in 2015.

Showgirl is the eighth Swift album to have sold at least 1 million copies in a single week, following the debuts of Poets, 1989 (Taylor’s Version), Midnights, reputation, the original 1989, Red and Speak Now. She is the only act with eight different albums to each sell at least 1 million copies in a single week in the modern era. In total, there have been 27 instances — by 25 different albums — in which an album sold at least 1 million copies in a week in the modern era. One of those albums, Adele’s 25 sold more than 1 million in three separate weeks.

SEVENTEEN is now one of K-pop’s most successful groups. During their trainee days, the 13 members trained together in a cramped studio — sometimes clashing, sometimes supporting one another — before finally debuting as a unified team in May 2015. To ensure that each member’s individual charm could shine, they adopted a distinctive three-unit structure: the Vocal Team (Woozi, Jeonghan, Joshua, DK, Seungkwan), the Hip-Hop Team (S.Coups, Wonwoo, Mingyu, Vernon), and the Performance Team (Hoshi, Jun, The8, Dino). 

Of course, what always came first was SEVENTEEN’s teamwork as 13 members. But it’s undeniable that the Performance Team, in charge of the group’s choreography and stage presence, the Vocal Team, led by producer Woozi and carrying the melodies of SEVENTEEN’s songs, and the Hip-Hop Team, adding a free-spirited vibe, are what make SEVENTEEN such a dynamic group. 

SEVENTEEN have also pursued notable unit projects. The three-member unit BSS released two single albums, while Hoshi X Woozi — leaders of the Performance and Vocal Teams — dropped their first single album BEAM earlier this year and successfully wrapped up a fan concert tour. On Sept. 29, the Hip-Hop Team’s S.Coups and Mingyu launched their new unit, CxM, injecting a fresh burst of energy into the group’s evolving story.

“The whole process of making this album itself was truly enjoyable. Rather than trying to dress it up, our strongest intention was to honestly capture the kind of music the two of us could create together,” said S.Coups. Mingyu added, “S.Coups and I are alike in that we both want to share our tastes in a straightforward and natural way. That side of us naturally came through in this album as well.” With both two in complete agreement on wanting to present themselves as they are—without embellishment—their first mini album HYPE VIBES comes packed with six tracks that reflect their unfiltered chemistry. 

Featuring Philadelphia-born singer-songwriter Lay Bankz  on the title track “5, 4, 3 (Pretty woman) (feat. Lay Bankz),” which interpolates Roy Orbison’s vintage pop classic “Oh, Pretty Woman,” comes as no surprise. SEVENTEEN have previously collaborated with a diverse roster of global artists, including Pink Sweat$, DJ Khaled, Anne-Marie, and Pharrell Williams, demonstrating their comfort with crossing international boundaries. Mingyu adds, “It wasn’t about targeting overseas listeners. We simply wanted to create music that everyone could enjoy, without language barriers.”

Since breaking onto the Billboard 200 for the first time with their eighth mini album Your Choice in 2021, SEVENTEEN have continued to rack up milestones. In 2024, they were honored with the Top K-pop Touring Artist award at the Billboard Music Awards (BBMAs), and their 10th-anniversary release HAPPY BURSTDAY, dropped in May, spent three consecutive weeks on the Billboard 200. Their 10th mini album, FML, released in 2023, sold a staggering 6.2 million copies, making it the year’s best-selling album in the world. 

Having effortlessly filled stadiums in both South Korea and Japan and captured fans across Asia and North America, SEVENTEEN also made their mark in Europe last year, performing on the main stages at the Glastonbury Festival in the UK and Lollapalooza Berlin. With achievements like these, one can’t help but wonder: is there anywhere left for SEVENTEEN to go but up?

“Beyond the enjoyment of the creative process, our desire to keep moving forward and growing as SEVENTEEN remains strong,” S.Coups explains. “I believe this CxM activity is very much an extension of the group’s journey—one that adds even more color and musical depth to SEVENTEEN’s spectrum.” If his words are any indication, it’s clear the duo has no intention of slowing down. But right now, it’s the perfect moment to turn up the music and dance—and HYPE VIBES is exactly that kind of album. 

S.COUPS

On September 29, you and Mingyu released the first mini album, HYPE VIBES. As a member of SEVENTEEN, you’ve showcased various combinations before but this is your first time officially releasing a full-fledged album as a duo. What kind of synergy do you think you and Mingyu can best bring out together?

Not only do Mingyu and I click musically, but we also share similar tastes in style, fitness, and other areas, so we often talked about trying a unit together someday. Eventually, the timing lined up, and we were able to dive into this project in earnest. Since this album was created based on our own musical preferences, with songs carefully selected to fit the overall flow, we feel a deep attachment to it. We truly hope many people can feel and enjoy the same ‘VIBE’ that we do.

The album includes a total of six tracks, with BUMZU—who has been with SEVENTEEN since debut—also participating in the production. Which track was the easiest to work on or the biggest challenge?

It’s hard to make that comparison since each song carries its own memories. But if I had to choose the one that feels the most meaningful to me personally, it would definitely be the title track, “5, 4, 3 (Pretty Woman) (feat. Lay Bankz)”.

The inspiration behind “5, 4, 3 (Pretty Woman) (feat. Lay Bankz)” traces back to Roy Orbison’s 1964 classic “Oh, Pretty Woman”. With two members of SEVENTEEN’s hip-hop unit taking on a rock ’n’ roll track, it naturally shifts the expectations for the entire album. How did you make the decision?

We wanted to create a song that anyone could enjoy across generations, so after much thought, we chose this approach. We pictured today’s generation reinterpreting the music our parents loved. In the end, we’re really satisfied—it feels like a vintage pop song perfectly mixed with our own energy. 

The album title HYPE VIBES brings to mind the bright, refreshing energy you’ve shown before with unit projects like “Check-In” and “What’s Good.” What’s your personal ‘VIBE’ like these days?

Making this album was such an enjoyable process, and I really wanted to share that feeling in the most natural way. We didn’t try to overdo anything—we just focused on being honest and making music that truly reflects the two of us for now. At the same time, I still have the same drive to keep growing as part of SEVENTEEN. For me, this unit activity feels like another step in expanding SEVENTEEN’s colors and showing an even wider range of music. 

One of the tracks, “Young Again,” feels especially sentimental just from the title. For you, S.Coups, what’s something you never want to lose no matter how much time passes?

Youth. People often think of youth as a certain stage in life. But after spending my entire twenties as part of SEVENTEEN, I’ve come to realize that youth isn’t about age. As long as you enjoy each moment freely and wholeheartedly—even the ones that will never come back—you can carry that sense of youth into your forties, fifties, and beyond. And of course, I’d want to keep sharing that with the SEVENTEEN members too. 

For SEVENTEEN’s 10th anniversary, you released your first solo track “Jungle (S.COUPS Solo)” on the album HAPPY BURSTDAY. Through working on your first solo track, did you discover anything new about yourself?

 I wouldn’t say I discovered something brand-new, but I definitely realized something all over again: “Wow, I really love being on stage!” (laughs) While working on the song, I kept catching myself thinking about how I could bring it to life on stage—how I could show my truest self up there. When I finally performed it for the first time at a concert, I felt so happy and proud because the performance turned out just the way I had imagined it.

The first live performance of “Jungle (S.COUPS Solo)” took place on September 13 and 14 during the SEVENTEEN WORLD TOUR [NEW_], in front of tens of thousands of fans. The response was overwhelmingly enthusiastic. This was also SEVENTEEN’s first concert stage with just the nine members performing together, without those currently serving or about to enlist. What was that experience like?

Performing as nine on such a massive stage, and showing “Jungle (S.COUPS Solo)” for the first time, of course came with its pressures. But that nervousness only lasts until we start preparing. Once we’re on stage, the fans’ energy lifts us naturally—it moves us to perform our best. Every time we release a new album or take on a new challenge, I feel that same determination to give back the love and warmth we share with our fans. 

If the alien creatures Kuute and Mante, who appeared in the album trailer came to Seoul, what’s the first place you’d want to show them?

It doesn’t have to be Seoul, actually—it would have to be a SEVENTEEN concert! Kuute and Mante are friends who recharge their energy through music and interaction, and the concert stage is the perfect place where all of that comes to life.

Album trailer link 

MINGYU 

You’ve previously worked on “Bittersweet(feat.LeeHi)” with Wonwoo in 2021, but this is the first time you’re releasing a full mini album as a duo. Now that you’re promoting as the unit CxM with S.Coups, what kind of synergy do you think you two can show?

I think our synergy comes from our common ground. Both S.Coups and I want to honestly and naturally express our own tastes, and that similarity shows in this album as well. At the same time, our personalities are different, and I think the contrast adds another layer to our synergy. It’s like when members with similar traits come together within SEVENTEEN—you notice the similarities at first, but if you look closer, the differences stand out too. I think that’s a fun point for listeners to enjoy in this album.

How would you describe Mingyu’s current ‘VIBE’? SEVENTEEN is a group that never settles and is always striving to grow—did you feel this was the right moment to show a more playful side through the album?

I think there’s a balance between the desire to keep growing and the wish to enjoy the present—both are there. The album itself was made with a focus on who we are right now. It’s filled with the things we like and the thoughts we’re having at the moment. But through this process, we also want to keep growing. I feel like we’ve already learned so much from working on it. Creating the music, as well as every photo and video for the album, inspired new ideas we want to try—something different from what we’ve shown as SEVENTEEN.

With production by BUMZU, both S.Coups and you participated in creating the songs. Out of the six tracks, there’s bound to be one that feels particularly special, right?

For me, the most special song is “Young Again.” It started from the idea that “moments that have passed never come back.” Every time we go on tour, I notice that even if we perform the same setlist, no stage is ever exactly the same. There’s an atmosphere and emotion that can’t be captured in photos or videos—something you can only feel in that moment. This is what I wanted to express through the song. 

Anyone listening to the chorus of “Never never be this young again” can’t help but think of their own youth. Meanwhile, the title track “5, 4, 3 (Pretty Woman) (feat. Lay Bankz)” starts with a lively guitar riff that interpolates a Roy Orbison song. The track features Lay Bankz, a rapper born in 2004. Are you hoping that this song will reach more listeners around the world? SEVENTEEN has already collaborated with artists like Pharrell Williams and DJ Khaled.

We’d love for CARATS(fans) and international listeners alike to enjoy this song, but we didn’t choose the featured artist specifically for that reason. We wanted to create music that anyone could enjoy, without language barriers. That’s why we wrote all the lyrics in English and tried to include as many intuitive, easy-to-understand expressions as possible.

During the 2019 world tour, you even captured members’ moments to make the “Snap Shoot” music video yourselves. While filming the trailer or music video this time, were there any memorable scenes or moments?

Every moment was memorable. Just like the message of ‘Young Again,’ youth doesn’t come back. The trailer and music video were filmed in LA, and the bright, clear sky left a strong impression. When you’re busy working, it’s easy to forget to even glance up at the sky for a moment. But during this shoot, every moment felt like being on vacation—fun and joyful. I think that mood naturally comes through in the photos and videos as well. 

The track ‘For You’ expresses a wish to connect with people through music. When was the last time you felt that connection through your music?

On the stage of our new tour [NEW_]. Every time we perform, I feel as if we and the audience are becoming one, completely in sync. That shared energy is the greatest joy of being an artist and the force that drives us forward. After performing in Incheon (Korea) and Hong Kong, we’ll continue the tour in North America and Japan. I’m thrilled and already buzzing with excitement. We pour everything into our performances, but we also know we’ll be filled just as much by the audience’s energy in return.

Since the ‘ [NEW_]’ stage is performed by just nine members, I imagine there must have been a different kind of pressure compared to before. And now, with both CxM promotions and the tour ahead, how are you feeling?

At first, it felt a little strange to perform as nine. But while watching the members’ individual stages during the concert, I was reminded once again of how diverse each of us really is. Every member has different personalities and different things they want to pursue, and yet it’s the combination of all 13 that completes SEVENTEEN. I think that’s really amazing. Even if we’re still a work in progress, we prepared this album and tour with the mindset of constantly growing, so I hope you’ll look forward to both our unit activities and the concerts.

If Kuute and Mante came to Seoul, where would you want to take them first?

It might be fun to invite them to our practice room or studio. That way, they could see how many people work hard together to complete just one song.