Andrew Auclair ’29

by Andrew Auclair ’29 on April 16, 2026

A Commentary on Kanye West’s BULLY

Following a controversial buildup, Kanye West’s 12th studio album, BULLY, was released on March 28, to a very mixed reception from fans. On one hand, there are the super-fans who celebrated its release and were ready to call it a masterpiece before even hitting play. On the other hand, there are listeners who gave the album a fair chance and recognize that it ranks low compared to West’s past work.

At a glance, BULLY is certainly a step up from his last three releases, those being VULTURES 1, VULTURES 2, and DONDA 2. Overall, this album features more fully developed songs, stronger lyrics, and some genuinely compelling production. However, it still falls short in overall quality when compared to DONDA or anything that came before that record. Most of the tracks don’t feel exactly half-baked, but rather somewhat soulless. West is, obviously, much older than when he first started producing for Roc-A-Fella Records, yet his technical skill remains evident. The place where this album lacks most is in spirit and vocal delivery. While the lyrics themselves are often solid, the absence of features—likely a result of West’s strained industry relationships—means every track relies solely on West’s performance, and his age certainly shows. A clear example is “CIRCLES,” where his performance is serviceable but would benefit greatly from a feature or even background ad-libs. This issue extends across much of the album, as many tracks are simply too short. While presented as complete songs, most struggle to surpass two and a half minutes, giving them the feel of interludes rather than fully realized pieces. “I CAN’T WAIT” and “WHITE LINES” are prime examples, both barely exceeding the two-minute mark. These songs feel as though they are missing an additional verse or a guest appearance, which are elements that may have been planned but ultimately never materialized.

Another major issue is how teasing the album feels. The beats, for the most part, are polished and well-produced, but often play it too safe. Many tracks build as if they are about to evolve into something more complex or energetic, only to retreat back into a slower, more restrained sound. Songs like “BULLY” and especially “PREACHER MAN” create a sense of anticipation that ultimately goes unfulfilled, leaving the listener wanting more. This repeated pattern across the album creates a sense of frustration, as moments that hint at innovation never fully commit, making the listening experience feel somewhat stagnant despite the strong production quality. That being said, BULLY is still a noticeable improvement over his last three albums, which were universally criticized. Tracks like “KING,” “ALL THE LOVE,” and “PUNCH DRUNK” stand out as energetic highlights with strong production. At this stage in his career, however, West may benefit from focusing on rebuilding his public image and stepping back from rapping. His production skills and songwriting ability are still clearly intact, but his reputation has made it difficult for his work to be received without heavy skepticism. Even if this album were a true comeback, it would be hard to confidently say, “Kanye is back.” What complicates the conversation even more is the presence of fans who insist he has never truly fallen off, labeling everything he releases as either a masterpiece or misunderstood. In reality, BULLY sits somewhere in the middle. It’s a decent project—not a failure, but far from a complete return to form. While it doesn’t guarantee a full redemption, it does imply that his talent is present. Moving forward, meaningful growth, both musically and personally, will be necessary before he can seriously contend for critical success again.