It seems that RGF Productions, the label Fetty Wap is signed to, has practically brought its entire label on tour. Despite some transcendent moments, Monday night’s show at the House of Blues often felt like a zoo in a bad way. The New Jersey rapper and his crew use “zoo” as an affectionate nickname for their group and, by extension, their fan base.
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PHOTO BY KELSEY CRONIN/DAILY FREE PRESS STAFFįetty Wap’s Monster Energy Outbreak Tour, “Welcome to the Zoo,” is a little too aptly named. LANGUAGE ADVISORY: This album contains profanity.Rapper Fetty Wap performed at the House of Blues to an enthusiastic crowd Monday night. He's been making this music for himself and it turns out it's good to us, too. That abundance is thoughtful, collecting as it does the heat that's been floating around, the singles with industry muscle behind them, seven songs produced by Peoples, seven featuring Fetty's right hand, Monty, almost all of which were recorded and redone in Clifton, New Jersey, nowhere expensive.
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Through his songs, his socials (where he pines for his kids as often as he promotes club dates) and how he's responded to success, he's reconstituted what it means to be hard.įetty Wap has been a singles machine, but now we have an album, Fetty Wap, marinated in the leitmotifs that he and RGF Productions, his musical collaborators, created, phrases that sound kind, that refer to real people and that have immortalized several seasons of love in the club, the backyard, the park, the beach and the whip, plus prom and homecoming.
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To be a man who cooks crack who loves and is loved. There is room in Fetty's melodies for him, a black man from Paterson, N.J., to be more than one thing: to be warm and triumphant, insistent and sincere, hungry and daydreaming. Fetty's sound would not be so well-received had this nation not been tenderized by Drake, by Future, by Kanye, which is it to say, by T-Pain, by Akon, by Nate Dogg, by The-Dream, by Kid Cudi and Soulja Boy, by Teddy Riley, Roger Zapp and Charlie Wilson. Which isn't to say that they aren't modern, or an evolution. The melodies aren't fancy, but they sound like they've been here forever, like Jerome Kern, like high heels, like chrome. There's something burnished and classy in his harmonies. In a democratic display the likes of which we probably won't see anytime soon, the people put him on their shoulders, and from there he jumped to radio. "Trap Queen" caught on before 300 Entertainment got involved. His warble, his facial imperfection, his shambolic manner - in another era, somebody would have dropped a publishing deal in his lap and had him behind closed doors writing for marquee types. Watching from the sidelines, the rise of Fetty Wap felt inexorable and hilariously American. By the end of this summer, Fetty's first three commercially released singles were all in the top 11 of Billboard's pop chart, a feat last accomplished by four guys with similarly prodigious melodic facility: The Beatles.
A little boy in Colorado stopped wearing his prosthetic eye because Fetty made asymmetry alright. Fetty freestyled on it, Peoples took it home to mix and his six-year-old son couldn't stop singing the melody.
A little while later Peoples was working on something else, nosed around and came across Tony Fadd's beat for " Trap Queen." Peoples thought they might have something right there. Fetty got in the booth, Peoples heard him ad-lib "Yaaa baby" and stopped him right there. In the fall of 2013, Fetty Wap, who'd been rapping a bit, was introduced to an engineer and producer who goes by Peoples. However, you can still listen with the Spotify playlist at the bottom of the page.Ĭover art for Fetty Wap. Note: NPR's Audio for First Listens comes down after the album is released. Fetty Wap's new album, Fetty Wap, comes out September 25.
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