Remy Boyz or nothing: An impassioned plea for Fetty Wap to play Northwestern

    When Fetty Wap announced that he was coming out with a full length album (named after himself no less) people were concerned. Would he be able to channel the success of “Trap Queen” into a full project? Was he destined to be a one-hit wonder? 

    For me, Fetty Wap has done exactly what he needed to do to follow up “Trap Queen.” He has a created an album that is completely his own. 

    It is purely a Remy Boyz 1738 production. No famous features or producers.  Not even the well-loved Drake remix of “My Way” has made it on the album.  Every song on the 20 track deluxe edition feels like Fetty has poured his heart and soul into it. He hasn’t strayed from the same vision that created “Trap Queen.” The topic matter of the songs haven’t changed; they are still focused on his success with his gang and his girl(s). 

    And sure, you could argue like Meaghan Garvey did with her Pitchfork review of Fetty’s album that if you have heard one, you have heard them all. “If you like what you've already heard from Fetty, you'll like these songs,” Garvey wrote.

    Also, yes, his vocals are helped by the magic of Auto-Tune. But it still feels like Fetty Wap is pushing out every note with considerable effort. On “Again”, one of the best love songs on the album, the hook feels as fraught with as much emotion as Fetty can muster. He sings on the chorus, “I go out of my way to please you, I go out of the way to see you, I ain’t playing no games, I need you."

    This album is full of sweet snippets. “Trap Queen” and “D.A.M.” feel like some of the most sincere love songs we have heard in hip hop in a while. Although still peppered with enough mentions of ass and sex to keep the Remy Boyz happy, Fetty delves into his feelings. “D.A.M” mentions sex so good that he wants to rewind time, but also mentions how glad he is that this girl is in his life: “I’m so damn glad you’re mine, / And you stay on my mind, / I think about you all the damn time.” He mentions how his girl is his drug, his queen and all he wants to do is hold her, which is pretty unusual for most rappers to say. 

    “Boomin” is a testament to the other part of his life, his grind. The sparse but persistent piano in “Boomin” sets the tone for Fetty to yell to the heavens (he literally says Hallelujah in the song) about his career “Beatin down your block, Fetty Wap, Boomin” sounds like a manifesto to his hustle.  

    On “RGF Island”, he talks of buying a whole island for his squad to mess around on. Fetty’s songs conjure up images of this sort of extravagance and fun. Who doesn’t love the inspiring idea of hanging out on with your friends on your own personal island bought with money from your work? 

    Fetty Wap’s songs are addictive becauses they feel good to listen to over and over. Sure, they aren’t especially challenging, but rarely do you find songs that are all so fun to listen to. Those simple yet entertaining beats pull you in. You begin to bop your head and tap your foot. Then Fetty’s determined and encouraging voice comes in. Once I hear his screech “Yaaa Baby” at the beginning of “679”,  I know I am in for it. I must listen to the song at least twice. 

    Whenever I have a bad day, this album has pulled me through. It’s motivational, comforting and entertaining all at once. I dance down the four flights of stairs in my dorm to “My Way” or “Trap Luv” at least once a week. 

    No artist makes more sense then Fetty Wap for Dillo Day 2016. All I want is to end this year by soaking up the first bits of Vitamin D in months, while Fetty Wap lifts my spirits from the soul crushing depths of the last quarter of the year by crooning “Trap Queen” live at Northwestern.  

    So Mayfest, if you truly want to redeem yourself after the disaster that was Dillo Day of 2015, you will consider only Fetty Wap. Fetty Wap will create the ideal atmosphere, filling the crowd with joy and the promise of summertime car rides to “Trap Queen.”


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