Music reviews: Ye, Raye, and Flea

‘Bully’ by Ye

★★

The artist formerly known as Kanye West is “probably the most contentious figure in all of popular music,” said Kelefa Sanneh in The New Yorker. So, after 2025’s flashes of blatant antisemitism and his more recent published apology, who is Ye now? “Listening to Bully, it can be hard to tell,” because on this 12th album from the 48-year-old hip-hop groundbreaker, “many of the tracks resemble fragments or sketches, with bits of singing and rapping that sound unusually tentative.” While several songs “seem designed to remind listeners of his older, less incendiary incarnations,” Ye seems “not quite sure how to give his listeners what they want.” In truth, “some of it still hits,” said Peter A. Berry in Complex. “‘All the Love’ sounds like Lion King in Space” and “‘Preacher Man’ features a nice blend of charisma and cinema.” Unfortunately, the album is “plagued by lethargic vocals, drab choruses, and trite lyricism.” You sense that Ye is unsure how to reattain excellence, and “the biggest tell” is how many songs evoke classic Kanye tracks without recapturing what worked. “Ultimately, Bully feels like Kanye searching through the crates for past glory.”

‘This Music May Contain Hope’ by Raye

★★★

“Our story begins at 2:27 a.m. on a rainy night in Paris. Cue the thunder!” That’s the British belter Raye, narrating the first few seconds of her latest album, “an epic autobiography of romantic despair,” said Rob Sheffield in Rolling Stone. Over arrangements packed with “show-tune razzle-dazzle, big-band swing frills, retro ’60s R&B, and the occasional club beat,” the 28-year-old Grammy nominee laments her serial heartbreaks with “mighty pipes” that are “as unstoppable as her flair for mascara-melting melodrama.” Whether she’s soothing herself with Edith Piaf records and chocolate cake or falling yet again for a disappointing Romeo, Raye conjures a limitless supply of “glamorously tragic scenarios.” Raye has been dogged by “endless Amy Winehouse comparisons,” said Will Hodgkinson in The Times (U.K.). But she’s “far more florid and theatrical, matching Shirley Bassey for searing drama and operatic bombast.” While her lyrics here can be “excessively on the nose,” Raye also shows ample ambition and welcome flashes of wit, and “the end result is unquestionably dynamic—the musical equivalent of seeing one’s life as a movie.”

‘Honora’ by Flea

★★★

The first bona fide solo album of Flea’s career “sounds nothing like the music that made him famous,” said Sadie Sartini Garner in Pitchfork. Anyone expecting the “screwball energy” of the bassist’s wildest Red Hot Chili Peppers contributions “may be disappointed.” Yet the 63-year-old’s idiosyncratic melodic sense informs the entire project, which features Flea on both bass and trumpet, an instrument he studied as a child. For an album whose six original compositions sound indebted to Miles Davis and Wayne Shorter, “jazz is as apt a descriptor as any.” The record also includes a wan instrumental interpretation of Frank Ocean’s “Thinkin Bout You” and a “strikingly beautiful” cover of Funkadelic’s “Maggot Brain.” Even in the company of such L.A. jazz luminaries as guitarist Jeff Parker, Flea proves “capable of holding his own,” said Janne Oinonen in The Line of Best Fit. “Morning Cry,” the fifth track, “tips its hat to bebop” while “the 10-minute ‘Frailed’ pitches Flea’s atmospheric trumpet against a minimalist electronic pulse with hypnotic results.” At one point, Flea shouts, “This shit is real”—and “that could apply to the whole of this surprising debut.”