Mexican music hitmaker Ivan Cornejo has revealed the tracklist for his upcoming new album, titled MIRADA, slated to released July 18.

Not surprisingly, the 12-track set, counting an interlude and an outro, does not include collaborations. Cornejo’s first LP, Alma Vacía, didn’t include any teamups, and his second studio album, Dañado, included a collaboration with Eslabon Armado. While the majority of new generation of regional Mexican stars has opted for a more collaborative approach, the opposite has worked for Cornejo.

The Mexican-American artist broke out in 2021 with his first single, “Está Dañada,” which landed him a No. 1 entry on Billboard’s Latin Songwriters chart dated Oct. 30, 2021, while also becoming the second regional Mexican song to appear on the all-genre Hot 100. So far, the singer-songwriter has placed 14 songs on the Hot Latin Songs chart, and his second album, Dañado, was No. 1 on Regional Mexican Albums for 37 nonconsecutive weeks, the fourth-most since the chart launched in 1985. Cornejo landed at No. 10 on Billboard’s 2023 year-end Top Latin Artists chart.

The unveiling of the tracklist comes just a month after Cornejo announced his new set with a trailer that previews what fans can expect in the new album. “Ivan, do you think you’ll fall in love again?” A voice asks the 20-year-old, who sits in front of a bonfire. “I don’t want to,” Cornejo quickly responds. MIRADA will be home to his latest single “Baby Please,” which debuted at No. 8 on Billboard‘s Hot Latin Songs chart in March — his first top 10 on the tally since 2021. The 20-year-old’s Mirada Tour kicks off July 6 at Summerfest in Milwaukee, Wis. Check out the dates here.

See Cornejo’s MIRADA tracklist below:

Bebe Rexha launched a fiery broadside against a music industry on Tuesday morning (July 2), claiming in a series of X posts that she’s been mistreated and sabotaged at every turn. The 34-year-old singer who has helped write songs for everyone from Eminem to Selena Gomez, Tate McRae and Tinashe while scoring hits with G-Eazy, Martin Garrix and Florida Georgia Line wrote that she has the kind of inside dirt that could burn things to the ground.

“I could bring down a BIG chunk of this industry. I AM frustrated. I Have been UNDERMINED,” wrote Rexha, who has been writing songs and performing since she was a teenager. “I’ve been so quiet for the longest time. I haven’t seen the signs even though people constantly are bringing them up and they have been SO OBVIOUS. And when I have spoken up I’ve been silence and PUNISHED by this industry Things must change or I’m telling ALL of my truths. The good the bad and the ugly.’ I’ve been so quiet for the longest time. I haven’t seen the signs even though people constantly are bringing them up and they have been SO OBVIOUS. And when I have spoken up I’ve been silence and PUNISHED by this industry Things must change or I’m telling ALL of my truths. The good the bad and the ugly.”

At press time a spokesperson for Rexha’s label for the past decade-plus, Warner Records, had not returned Billboard‘s request for comment on the tweets and the singer had not specifically revealed what inspired her series of fired-up missives. When a fan asked “what happened again,” Rexha replied, “Again? You haven’t even heard 5 percent. You have NO IDEA.”

In another exchange, a fan opined that, “nobody should be forgiven for the time they took your name out of ‘Hey Mama.’” The tweet appeared to reference the 2015 David Guetta song “Hey Mama,” which was co-written by Rexha, Guetta and several others. At the time, Rexha told Billboard that though she was credited as a co-writer, she was not initially listed as a vocalist on the track alongside Nicki Minaj and Afrojack, a situation that stuck in her craw given what she described at that time as an already rocky path in the music industry.

“I really wanted to be featured on it, because, you know, I’ve been signed and dropped, and now signed a second time, so it’s been hard, the then-25-year-old said. “What ended up happening was that it looked like a lot of names on the title, so they wanted to keep as many low features as possible. That’s what I was told, and it makes sense to me. I guess more than two [featured] names don’t look good on the radio.”

On Tuesday, though, in response to that fan’s “Hey Mama” comment, Rexha said, “My love. That? Compared to all the other stuff you don’t know about? That’s Child’s play.” The back-and-forth continued, with Rexha telling another commenter who asked what has stopped her from speaking out that, “THEY PUNISH YOU.”

A decade removed from the “Hey Mama” drama, Rexha also claimed that in the midst of promoting her latest single, “I’m the Drama,” she’s been struggling to, well, promote the song because of what she claims are further roadblocks from the industry. “Marketing? I have no budget for that,” she wrote of the song that dropped on June 28. “IM FED UP.”

The singer who released her third full-length studio album, Bebe, in 2023, continued to explain her frustration, writing, “This is not just coming from a place of anger. It’s sadness. I’m sitting in my hotel room in London Crying my eyes out. I’ve felt hopeless for the longest time. I’ve been walking a lot through this city and meeting fans and they have really ignited something inside of me.” In the midst of the string of laments, Rexha thanked her fans for continually giving her the strength to carry on.

To date, Rexha has scored four top 10 hits, including her 2017 FGL collab, “Meant To Be,” which peaked at No. 2 on the Billboard Hot 100, as well as the 2015 G-Eazy team-up “Me, Myself & I” (No. 7), “Hey Mama” (No. 8) and 2022’s David Guetta collab “I’m Good (Blue)” (No. 4); Rexha recently lashed out at Eazy, calling him an “ungrateful loser” and dubbing their song his “only real hit.”

Check out Rexha’s tweets below.

I could bring down a BIG chunk of this industry. I AM frustrated. I Have been UNDERMINED. I’ve been so quiet for the longest time. I haven’t seen the signs even though people constantly are bringing them up and they have been SO OBVIOUS. And when I have spoken up I’ve been…

— Bebe Rexha (@BebeRexha) July 2, 2024

Again? You haven’t even heard 5 percent. You have NO IDEA. https://t.co/YgRGoxkS48

— Bebe Rexha (@BebeRexha) July 2, 2024

My love. That? Compared to all the other stuff you don’t know about? That’s Child’s play. https://t.co/4yyHulazH1

— Bebe Rexha (@BebeRexha) July 2, 2024

My love. That? Compared to all the other stuff you don’t know about? That’s Child’s play. https://t.co/4yyHulazH1

— Bebe Rexha (@BebeRexha) July 2, 2024

THEY PUNISH YOU. https://t.co/H9AyzfVhRe

— Bebe Rexha (@BebeRexha) July 2, 2024

Marketing? I have no budget for that. IM FED UP. https://t.co/mzAscpJCCT

— Bebe Rexha (@BebeRexha) July 2, 2024

This is not just coming from a place of anger. It’s sadness. I’m sitting in my hotel room in London Crying my eyes out. I’ve felt hopeless for the longest time. I’ve been walking a lot through this city and meeting fans and they have really ignited something inside of me.

— Bebe Rexha (@BebeRexha) July 2, 2024

Honestly you all have given me the strength.

— Bebe Rexha (@BebeRexha) July 2, 2024

Ella Langley is officially a Billboard Hot 100-charting artist, as the singer-songwriter arrives with her viral duet, “You Look Like You Love Me,” with Riley Green.

Released June 21 via SAWGOD/Columbia Records, the track debuts at No. 53 on the Hot 100 (dated July 6) with 8.6 million official U.S. streams, 14,000 in radio airplay audience and 3,000 downloads sold in its first week, according to Luminate. It also opens at No. 15 on the Hot Country Songs chart, where it’s Langley’s second entry, after “Strangers,” with Kameron Marlowe (No. 43 peak, February).

“You Look Like You Love Me” (which marks Green’s fifth Hot 100 hit) was boosted by activity on TikTok leading up to its official release. Before releasing the song, Langley and Green shared snippets on TikTok, as well as live performances of it on their joint tour. One version of the song has soundtracked over 225,000 clips on TikTok, while another has been used in over 100,000 videos. Their teasing of the track helped it debut at No. 9 on last week’s TikTok Billboard Top 50 chart (dated June 29).

Langley first appeared on Billboard’s charts dated June 3, 2023, when her debut EP, Excuse the Mess, entered at No. 19 on Heatseekers Albums (which ranks the top-selling albums each week by new or emerging acts). The set includes a collaboration with fellow recent Hot 100 First-Timer Koe Wetzel.

Langley recently concluded a supporting stint on Green’s Ain’t My Last Rodeo Tour, as well as Hardy’s Quit!! Tour. She has other supporting gigs lined up on Morgan Wallen’s One Night at a Time Tour, Luke Bryan’s Mind of a Country Boy Tour and Dierks Bentley’s Gravel & Gold Tour.

“You Look Like You Love Me” is slated to appear on Langley’s debut full-length, Hungover, due Aug. 2.

Mano Sundaresan, founder of the music blog No Bells, will take on the role of Head of Editorial Content for Pitchfork, the publication announced on Tuesday (July 2).

He joins during a fraught time for media — numerous publications have laid off staff in the last 18 months — and for Pitchfork in particular. In January, parent company Condé Nast folded Pitchfork into GQ and cut a number of longtime staffers, including Puja Patel, who had served as editor in chief since 2018. The backlash was swift: The Washington Post declared “the end of Pitchfork,” while The Guardian called the move “a travesty for music media” and many publications ran postmortems eulogizing the venerated site.

“I understand what the concern was — [people thought] this really important media outlet was going away,” Will Welch, global editorial director of GQ and Pitchfork, tells Billboard. “It was a misunderstanding. It’s not going away, and in so many ways, it’s getting all this new energy.” 

That starts with Sundaresan. In 2021, stuck at home during the pandemic, he decided to launch No Bells. “Everybody in quarantine had their little hobby,” he tells Billboard in his first interview since taking the job. Some took up baking bread; he started a site to house some of his stories — “mostly about these undercover online music scenes” — that weren’t being accepted by the remaining publications in a rapidly-thinning music media landscape. 

“It was initially me doing everything: writing, editing, designing a bit,” Sundaresan recalls. “But then I brought on some friends and made it more of an actual publication.”

As No Bells grew, it “started to gain a bit of authority,” he continues. “We definitely became a voice for the underground rap scene in New York, and in Milwaukee, and in these various micro-communities that were popping off.” 

Sundaresan, who also worked previously at NPR and freelanced for several sites, spoke with Billboard about his plans for Pitchfork‘s future, in an interview alongside Welch. These are edited excerpts from the conversation. 

What did you learn building No Bells that you’re hoping to implement at Pitchfork?

Sundaresan: What I’m bringing to Pitchfork is essentially the adaptability and experimentation that comes with trying to start a music blog in the 2020s. It’s really hard. It requires not only publishing interesting stuff but also seeing where your audience is and cultivating that. We didn’t have any type of legacy to hinge on. 

Pitchfork is interesting because it obviously has this authority [built] over two decades now. It’s also got a bevy of incredibly talented writers, and I think we’re in this age where we turn to individual tastemakers for validation when we’re curious about new music. I think more care needs to be put into building worlds around those tastemakers. That’s kind of what I was doing at No Bells, and that’s what I’m going to try to do at Pitchfork.

Are there other new directions or priorities you’re interested in?

Sundaresan: I’m definitely trying to honor the traditions of Pitchfork as-is. They’ve done so much over the past few years, especially with broadening the accessibility, making it more conversational. I want to continue those efforts. Really, my focus is to try to adapt Pitchfork to the modern age of media, where individual voices are prioritized. We can tap into the incredible writers that are on staff and try to build verticals and columns around what they’re doing — cater to more specialized audiences that way, and younger audiences that way.

What does it mean for Pitchfork to be folded under GQ? What’s different now compared to a year ago?

Welch: Pitchfork is still continuing as Pitchfork and GQ is continuing as GQ. I’m now leading both, and very excited to have Mano working on the Pitchfork project with me. And there are ways that we are sharing efforts on the back end — operational stuff, logistical stuff. We just had a really cool meeting last week, where it was GQ editors sharing what they’re excited about in music looking ahead at the rest of the year, and then the Pitchfork editors doing the same. There are conversations like that happening, but the Pitchfork brand is continuing standalone, and GQ is continuing standalone as well. 

This new chapter is taking place after a round of layoffs that got a lot of attention. What led to the layoffs, and what do those mean for the future of the publication? 

Welch: I’ve been a reader of Pitchfork for 20-plus years. I started my career at The Fader, another music magazine that was sort of at its peak around the time that Pitchfork was really thriving. There was always a [dynamic of] looking across the road at what the other was doing. It’s an honor to have the opportunity to actually work on Pitchfork and to lead the team. They have done an awesome job in the time since January; we’ve been continuing to publish at a great clip. There’s been a lot happening in music, really exciting, emerging music that the site has covered — as it always has, going all the way back to the beginning — and then a bunch of huge releases as well. 

Mano had such a clear vision for really what drives music conversation today, what all of us who are on the internet every day want to see. That just clarified for me what the future should be. Now we get to lead a conversation with a team of staff members and contributors about how we apply what Mano articulated: What should we keep exactly the same, and what can we do in new ways, especially as we think about all the platforms at our disposal.

It’s really hard for musicians right now. The way things are set up can be really beneficial to the huge acts, and it can be really hard for the middle and for the younger acts. And I think a huge part of Pitchfork‘s role is supporting that whole ecosystem, especially new artists and people that are in that difficult middle ground.

Sundaresan: One thing that’s working really well with No Bells is the way we’ve built a community around what we do — writers certainly, but also artists. Pitchfork at one point, before it got bigger, was very community-driven. I want to try and restore some of that feeling, getting back to being literally on the ground reporting about things, creating physical spaces for writers, whether that’s live events, readings, panels. I want to create more of a real community around this really robust online ecosystem that Pitchfork already has.

Even before the layoffs, it felt like Pitchfork started running fewer reviews and moved them down the homepage. The New York Times was historically focused on reviews but it has moved away from them as well. Do you still believe that format has value?

Sundaresan: I feel like every few months the album-review-is-dead conversation pops up. For every discourse around that, you see 18,000 more people posting that Taylor Swift got like a 6.2 or whatever it is. Album reviews, especially for some of these really big releases, are pored over by fans. Some of the highest-performing things on the Pitchfork website are still album reviews. 

And I think there’s still such a necessity, from a historical record standpoint, for album reviews. You see with platforms like Tiktok and Instagram Reels — they’re really important, and I think Pitchfork really needs to tap into them more and create more interesting content around them — but there’s only so much you can do. You need comprehensive writing of some sort about these really important releases, just so that in five or 10 years, somebody can come back and see this is what happened at this time. 

Welch: I would also add that if other outlets have moved on from reviews, and Pitchfork is still known as the place that’s really committed to that form, then that’s a position of strength for us. The foundation of the site is news and reviews, and that can and should continue. And then we’re going to do a bunch of other cool stuff too.

Is there a tension between trying to document some of these smaller scenes and the need to generate traffic? It seems like people have moved away from covering some of the niches because they’re all fighting for the same mainstream clicks.

Welch: We live in a world where audience matters, traffic matters. At Conde Nast, we have KPIs for audience just like any other media brand on Earth. But I think there’s a huge opportunity to evolve the Pitchfork ecosystem. When that’s done effectively, and I think GQ is a good example of this, your business does not live and die based on pure raw traffic. 

Broadly right now in internet media, relative to other phases that I’ve been in, this is not a time of traffic as the be-all, end-all. Without taking it to a naive extreme, Mano’s directive is not to chase traffic. It’s to build a really high quality website. And then we’re going to be collaborating with the rest of the team on building out the Pitchfork ecosystem. Mano referenced events — I think that’s incredibly important. Thinking in new ways about the social platforms, there’s just so much you can do, so many different ways to not just mean something to your audience, but also to bring revenue into the brand that isn’t about raw traffic. 

Sundaresan: You nailed it. Tent-pole reviews are always going to matter. But No Bells to some extent was about, “Let’s create this ecosystem around online music scenes.” We didn’t always have the highest readership. That wasn’t our goal. But we were able to sustain ourselves just by having very loyal readers because they cared about the things that we cared about. 

I think Pitchfork has a potential to essentially do that tenfold, and have different pockets that cater to specific audiences, almost like subcultures, that are spearheaded by genre specialists — which, by the way, Pitchfork already has. The resources just haven’t been put in those directions yet. 

After the layoffs, I’m sure you saw there was just a wave of pieces basically saying that Pitchfork was dead. Do you have any response to those?

Welch: Just that Pitchfork is still continuing as Pitchfork. I feel confident in my ability to lead the title, and I think we have an incredibly exciting new voice, new thinker — it wasn’t until I talked to Mano that it really crystallized what I thought the future of Pitchfork should be. He’s bringing this very of-the-moment perspective: This is how people want to talk about music. All the tools are there, we just need to adjust the dials a little bit, do some new things. And I think there’s an opportunity for Pitchfork to really grow and feel fresher than ever.