BULLY is one of the most self-contained albums in Kanye West's discography. Of its 18 tracks, only five feature guest artists — a stark contrast to the sprawling credits of DONDA or the Vultures series. But each feature on BULLY is purposeful, adding a dimension that the album needs at exactly the moment it needs it. Here is every featured artist, their history with Kanye, and what they bring to the record.
Travis Scott — "Father" (Track 3)
Travis Scott's relationship with Kanye West is one of the most significant mentor-protégé dynamics in modern rap. Scott first entered Kanye's orbit around 2012, contributing to Yeezus and later earning credits on The Life of Pablo. Kanye executive-produced parts of Scott's debut Rodeo (2015) and the two have maintained a creative connection through the years, with Scott's own evolution from Kanye apprentice to stadium headliner mirroring aspects of Kanye's own trajectory.
On "Father," Scott brings his signature atmospheric style — layered ad-libs, Auto-Tuned harmonies, and a spacious vocal approach that opens up the production. The track is about fatherhood, and Scott's own experience as a parent (he has two children with Kylie Jenner) adds authenticity to the feature. His voice functions less as a traditional guest verse and more as an emotional texture, wrapping around Kanye's reflections on family with melodic warmth.
The placement at track three is strategic. After the confident declarations of "King" and "This a Must," "Father" is BULLY's first moment of genuine vulnerability. Scott's atmospheric delivery signals to the listener that this album has emotional range beyond the bravado of its opening salvo.
CeeLo Green — "Bully" (Track 9)
CeeLo Green is one of the most distinctive voices in popular music. As half of Gnarls Barkley (with Danger Mouse), he recorded "Crazy," one of the defining songs of the 2000s. As a solo artist, "Forget You" (the radio-friendly version) was a global smash. His voice — raspy, powerful, and unmistakably his — carries an outsized personality that few vocalists can match.
CeeLo and Kanye's creative circles have overlapped for years through Atlanta's music scene and mutual collaborators. On the title track "Bully," CeeLo's wild-card energy is the perfect match for the album's most confrontational moment. His vocal delivery is full-throated and unapologetic, matching Kanye's own combative posture with a roughness that adds grit to the production.
The choice of CeeLo for the title track is telling. Kanye could have selected a younger, more commercially current collaborator, but CeeLo brings something that trending artists cannot — a voice with decades of character baked in. The result is a title track that sounds lived-in and dangerous rather than calculated.
André Troutman — "All the Love" (Track 4) & "White Lines" (Track 12)
André Troutman is the least commercially visible name on BULLY's feature list, which makes his double appearance all the more significant. A vocalist and multi-instrumentalist, Troutman brings a soulful, classic R&B texture to both of his features — a callback to the soul-rooted production that defined Kanye's earliest work.
On "All the Love," Troutman's vocals provide warmth and emotional depth to a track about love and relationships. The production is gentler than what surrounds it on the tracklist, and Troutman's contribution is central to creating that softer space. His voice has an organic, analog quality that contrasts with the digital precision of the album's harder tracks.
"White Lines" is a more complex affair. The track addresses excess, fame, and social boundaries, and Troutman's vocal delivery reflects that complexity — sometimes tender, sometimes urgent. The title's double meaning (cocaine and boundary lines) creates a tension that his performance navigates with skill. Having the same featured artist appear twice on an album this sparing with features suggests that Kanye heard something in Troutman's voice that the album needed — a soulful thread connecting its emotional peaks.
Don Toliver — "Circles" (Track 13)
Don Toliver emerged from Houston's rap scene as a melodic vocalist with a hypnotic, looping delivery style. Signed to Travis Scott's Cactus Jack Records, Toliver broke through with "No Idea" (2019) and has since released multiple solo albums (Heaven or Hell, Life of a Don, Hardstone Psycho) that established him as one of the most distinctive voices in contemporary rap.
His connection to Kanye runs through Travis Scott's extended creative family, and on "Circles," Toliver delivers exactly what his name implies — circular, repeating melodic phrases that mirror the track's lyrical themes of repetition and cyclical patterns. The production loops and builds, and Toliver's vocal sits inside that loop like a mantra, creating one of BULLY's most sonically distinctive and immersive moments.
The track works because Toliver does not try to overpower the production. His approach is hypnotic rather than forceful, and the restraint gives "Circles" a meditative quality that distinguishes it from the album's more direct tracks.
Peso Pluma — "Last Breath" (Track 17)
Peso Pluma's appearance on BULLY is the album's most unexpected moment. Born Hassan Emilio Kabande Laija in Guadalajara, Mexico, Peso Pluma became a global star through the regional Mexican music (musica Mexicana) explosion of the early 2020s. His blend of corridos tumbados with trap influences made him one of the most-streamed artists in the world, and his collaborations have spanned Latin pop, reggaeton, and now hip-hop.
Peso Pluma and Kanye do not share obvious musical DNA, which is precisely what makes "Last Breath" compelling. The track addresses mortality and resilience — themes that resonate across cultural boundaries — and Peso Pluma's vocal delivery brings a completely different musical tradition into Kanye's sonic world. The collision of styles is jarring in the best way, creating a cross-cultural moment that feels genuinely new rather than forced.
Placing this feature at track 17 — the penultimate song — is a bold sequencing choice. Just before the album's reflective closer "This One Here," Kanye introduces his most unexpected collaborator, keeping the listener off-balance even as the album approaches its conclusion.
The Feature Philosophy
BULLY's approach to features reveals a broader philosophy. Each guest serves a specific purpose: Travis Scott for atmospheric vulnerability, CeeLo Green for confrontational energy, André Troutman for soulful emotional depth, Don Toliver for hypnotic repetition, and Peso Pluma for cross-cultural surprise. There are no features for the sake of commercial placement or streaming algorithm optimization. Every voice on this album earned its spot by adding something that Kanye's own voice could not provide alone.
In a discography that includes albums with 20+ featured artists (DONDA) and collaborative full-lengths (Watch the Throne, Kids See Ghosts, Vultures), BULLY's restraint with features is itself a statement. This is Kanye's album, and the guests are invited to serve his vision — not the other way around.
