After many months of rumors and false starts, Ye (formerly known as Kanye West) finally released his Bully album two Saturdays ago (Mar. 28).
The 18-track set — which features appearances from Travis Scott, Peso Pluma, CeeLo Green and Andre Troutman — follows the rapper’s latest apology for his antisemitic and other problematic behavior, first issued via a one-page Wall Street Journal ad in January. This week, Bully debts at No. 2 on the Billboard 200 dated Apr. 11, behind just BTS’ best-selling Arirang set in its second week of release, while moving 152,000 equivalent album units in its first frame.
The LP also arrived days before Ye’s first live shows back of 2026, with a pair of sold-out dates at L.A.’s SoFi Stadium, which were to be followed by a recently announced headlining gig at the U.K.’s Wireless Festival in July. However, it was reported today (Apr. 7) that Ye would be denied entry to the U.K. by the country’s Home Festival, and the festival was canceled for 2026.
How do Bully‘s first-week numbers meet our expectations? And does it seem to us like he’s being re-embraced by the mainstream? Billboard staffers answer these questions and more below.
1. Ye debuts at No. 2 on the Billboard 200 while moving 152,000 units of Bully in its incomplete first week of availability. Are those numbers higher, lower or about what you would have expected?
Kyle Denis: I think it’s around what I would have expected. Ye’s always been able to move units, whether we’re talking his 2000s prime, collaborative efforts, or more gospel-driven projects. 152,000 units feels plausible for a figure as polarizing as Ye. There will always be a collection of die-hards who put their money where their mouths are, but it does feel like curiosity/hate listens and outright protestation canceled each other out here.
Angel Diaz: I thought it was lower than expected until I found out that he was going up against BTS. I assumed he would go No. 1 just off curiosity alone.
Carl Lamarre: I figured Ye wouldn’t struggle to hit six figures with this album, so 152K feels right for where he is in his career. Had he dropped on Friday as planned, 200K and likely a No. 1 would have been firmly in play. Either way, it’s a solid debut for Mr. West.
Michael Saponara: I’d say slightly lower than expected. I was looking for Ye to push 200,000 units, and if he didn’t miss the first day-and-a-half of availability — which has to be expected with a Ye release — he probably would be pushing 200K, and that sum might’ve notched him another No. 1 album.
Andrew Unterberger: Maybe a little bit higher — probably attributable to Ye actually having physical to go with his streaming release — but him breaking six figures certainly isn’t surprising. The curiosity factor is always going to win out with Ye, as well as sentimental attachment to one of the most pivotal artists of the 21st century.
2. Though it’s only been two years since Ye topped both the Billboard 200 and Billboard Hot 100 with Vultures 1 and “Carnival,” respectively, it does feel like Ye is at a point of having to prove his continued viability with each new release. Do these initial returns for Bully establish that for you?
Kyle Denis: Not really. “Carnival” debuted at No. 3 on the Hot 100 upon Vultures’ release, and Bully couldn’t power any of its 16 tracks to a top 20 debut. When Vultures 1 dropped, I couldn’t escape “Carnival” across social media, and that quickly spilled over into real life. Bully has been out for almost two weeks, and this is perhaps the least central music has ever been to mid-album cycle conversations about Ye. To me, viability implies that Ye’s new music can still earn sustained commercial success beyond his core fanbase — and I’m not sure Bully’s performance supports that so far.
Angel Diaz: He’s going to have to continue to prove himself, especially after this Wireless debacle. The wounds are too fresh when it comes to his critics and the fans that have been turned off by his antics these last few years. Ye has always been polarizing but never moreso than he is now. I think nothing short of a masterpiece will make people really forgive and forget.
Carl Lamarre: It feels like a personal litmus test and a way for Ye to gauge whether he still has the juice with his fans. The fanfare, from opening-week numbers to ticket sales, serves as an ego check on his standing with his core base. But once the noise fades, that’s when Ye is most vulnerable.
Michael Saponara: I’d disagree with the initial point. With Ye’s decorated résumé over two decades in, I don’t believe he has to prove anything. Bully’s a step in the right direction and shows me he has a solid group of collaborators around him, like Andre Troutman. The album’s production is crisp and he avoided tracks that felt like half-baked ideas. Thankfully, he threw out the AI vocals that were included on earlier editions of Bully.
Andrew Unterberger: It shows that the fans are still out there, certainly — but anyone who’s still expecting that base to disappear overnight is basically the musical embodiment of the classic “I’d like to see ol’ Donny Trump wiggle his way out of THIS jam” tweet.
3. Of the 16 songs from the set that debut on the Hot 100, “Father” (with Travis Scott) and “All the Love” (with Andre Troutman) are the best-performing so far, debuting at No. 21 and No. 25, respectively. Do either seem like potential long-lasting breakout hits to you?
Kyle Denis: Both certainly feel like the most accessible Bully songs — and maybe the closest the album gets to reviving the “old Kanye” — but neither feels like potential long-lasting hits. Then again, “Carnival” couldn’t even clear 20 cumulative weeks on the Hot 100. If I’m honest, I think there are hotter, current hip-hop songs (Don Toliver’s “Body” and “E85”; Bossman Dlow’s “Motion Party”) with less baggage that people will continue gravitating to. But I will never discount TikTok’s ability to divorce a song of all contexts and turn it into a meme or dance trend, thus spiking its streaming numbers and overall commercial pull. Barely a decade after the “Mute R. Kelly” movement, the disgraced R&B singer’s voice can be heard on one of the app’s latest viral songs: 2007’s “Freaky in the Club.”
Angel Diaz: I feel like “All the Love” has more crossover appeal, however, “Father” is more of a banger and features a fellow chart-topper in Travis Scott — yet I’m not confident in either of them having any staying power like that. We won’t be talking about Bully much in a couple months, is my prediction.
Carl Lamarre: Both records are wins. “FATHER” underscores why Ye and Travis are primed for a joint album, while “ALL THE LOVE” taps into the emotional core of 808s & Heartbreak. Nostalgia wins every time, especially with Ye’s audience.
MIchael Saponara: “All the Love” is a glimpse into that genius of Ye that keeps his fans coming back, combining the frenetic rage of Yeezus with Andre Troutman on the talkbox, which was popularized by his late cousin, Roger Troutman. Few, if any, other rappers out there are making an “All the Love,” so I’d lean on that sticking around. Travis and Ye reuniting is always going to be a moment. Coupled with a compelling “Father” visual, I figured it would deliver a strong debut.
Andrew Unterberger: Not particularly.
4. Is anything else on the album particularly interesting to you as a new sound or direction for Ye?
Kyle Denis: Not really. The timbre of his voice across the album was reminder enough that he has not, in fact, revived the artist so many of us were initially captivated by.
Angel Diaz: Not really. I felt like he was rehashing some older sounds instead of moving forward and being the innovator we’ve known him as. The most interesting thing from Bully was the SoFi set design and the short film he shot for the first version of his son wresting in black and white slo-mo. I thought that was pretty cool when he dropped it. The music isn’t bad, but certainly I don’t see myself going back to Bully much, if at all.
Carl Lamarre: BULLY plays like an amalgamation of Ye’s most beloved production eras. From soul samples reminiscent of The College Dropout and Late Registration to the recurring use of the talk box, those moments are enough to make fans believe there’s still a version of Ye capable of delivering creatively.
Michael Saponara: Sonically, what I kept coming back to on Bully was Ye sprinkling in various eras of his career into a melting pot, whether that’s the industrialization of Yeezus found on “King” or his signature chipmunk soul poured into “Punch Drunk.”
Andrew Unterberger: “I Can’t Wait” and “White Lines” are noteworthy in the heavy-handed clumsiness of their lifts from a pair of classic beyond-pop songs (“You Can’t Hurry Love” and “Close to You”) — even at his most personally messy, it’s rare to hear Ye so over-indulged on wax. You could read that as newfound vulnerability, I suppose, but to me it mostly sounds sloppy. The “King” beat is a pretty hot intro though, and the beatless minimalism of “Preacher Man” is almost interesting.
5. Between the Bully response and his recent (and upcoming) live stadium dates, do you feel like the industry and public have signaled forgiveness of Ye for his antisemitic and other problematic behavior in recent years — or is it more a question of the longtime fans simply being louder than a still-disapproving general public?
Kyle Denis: Well, I guess the U.K. Home Office banning him from entering Britain, thus forcing Wireless to cancel the whole three-night festival, is answer enough.
Were those SoFi stadium shows impressive in terms of ticket sales, overall gross and stage design? Unequivocally. But those were spot shows in a market that’s arguably Ye’s safest at the current moment. I’m not convinced he replicates that success across a proper stadium-headlining tour — and that’s if he’s even able to book and secure the sponsors one, let alone complete it.
I don’t think any of the past two weeks have signaled forgiveness for Ye. For as many people who attended those shows, hundreds were lambasting their friends and favorite celebrities for showing up. For every social media post praising Lauryn Hill’s surprise appearance, there was one incredulously questioning why she would align herself (and her sons) with present-day Ye. If anything, Bully’s arrival opened a Pandora’s Box of discourse about redemption, who gets to qualify it, mental health, who’s owed a direct apology, free speech, government censorship and more. And we haven’t scratched the surface of an answer to any of those questions yet.
Angel Diaz: He’s too talented and has done too much to not be forgiven eventually, especially but the louder long-time fans. Wireless sold out instantly, and he just played a couple sold out dates at SoFi. He’ll be back in the public’s good graces if he continues this apology tour and doesn’t have any more wild controversial takes. This is America, after all. Just look at who’s President.
Carl Lamarre: At this point, it’s his core fans riding with him until the wheels fall off. But 80,000 at SoFi or 98 million opening-day streams don’t reflect the broader public sentiment. Ye will forever remain polarizing, as proven by the Wireless Festival cancellation. His past remarks were so inflammatory that they ultimately cost him what could’ve been the biggest moment of his career this decade.
Michael Saponara: To me, the industry and public are two separate entities. I think there’s a portion of the public who have completely tuned out Ye, and another that would be more willing to overlook his antics if he walks a straight path in the months to come and the music remains at a certain level. On the business side, I believe that it will take much longer to repair since you’re dealing with money, reputations and livelihoods. It’s a higher-stakes game. With that said, getting into business with Ye has proven to be a lucrative venture — but it can also blow up at any moment, as we just saw with Wireless Fest.
Andrew Unterberger: The core fans — of which there are still very many — are still here and likely will be as long as he is. Everyone else for Ye is gonna be a roll of the dice at best for the foreseeable future.
