★★★☆☆

There is something almost surreal about hearing Fetty Wap again in 2026. In a year where 2016 nostalgia is suddenly right back in fashion, Zavier lands at exactly the right moment. But while tracks like “679,” “Trap Queen,” and “My Way” still echo in the background at the occasional party, Fetty Wap’s new music feels like a relic of the past. 

In 2023, Fetty Wap, born Willie Junior Maxwell II, was sentenced to federal prison for drug trafficking, forcing him to put his music career on hold. But now, fresh out as of January this year, Zavier feels like some sort of personal reset for him. The very choice of the title signals this new shift in identity. 

“When they take everything away, what you got left is a person your mama named you … you can call me Fetty, but the people who know me call me Zavier,” Ferry Wap said in the trailer for Zavier. 

It seems like this is not about the larger-than-life “Fetty Wap” character we all know from the past; it is now about discovering the real person beneath it. That personal focus is clearly evident right from the opening track, “Right Back To You,” where he declares front and center in the lyrics. 

“I’ve been gone for a while, but I came right back to you,” Fetty Wap sings. 

This theme then continues in “I Remember/Dear Zavier” (feat. G Herbo), easily one of the album’s most important tracks. Over a stripped-back beat, Fetty Wap reflects on the stages of his life: before fame, during his rise, and after it all began to unravel. 

“I remember havin’ the dreams about a mill’ in the Mercedes,” Fetty Wap sings. “I remember them dark days when b—s didn’t even notice me.” 

While the album is centred around reflection, it never feels overly weighed down by the past. Instead, Fetty Wap gives his listeners a genuine glimpse into his experiences without ever oversharing. 

He said himself he didn’t want this to be an “emotional album.” Tracks like “Nasty” (feat. Tink) bring back that carefree, melodic energy, while “BossDon” (feat. Max B) leans into his influences with a confident, almost celebratory tone.

Musically, there is a noticeable maturity in his vocals and production choices. “White Roses” (feat. Divinity & Ymanie) is a standout track, featuring layered harmonies from his sister’s vocals. 

For an album so built and marketed around a so-called “new chapter,” however, it does not really take too many risks. Fetty Wap still sticks closely to the melodic formula that once made him famous, and while it is still enjoyable, it’s far from unique.

Regardless, there is still something undeniably genuine about this project. Zavier feels less like Fetty Wap is chasing chart success and more like him reclaiming his own voice after his sentence. It seems like he is making music because he wants to.

So, the pressing question … is Fetty Wap past his prime?

While he may no longer dominate charts as he did in 2016, Zavier makes it clear that Fetty Wap is not about trying to relive his peak. Instead, he leans into authenticity and prioritises his own self-reflection. 

This album feels genuine but is by no means groundbreaking. It does not push boundaries, but it also doesn’t pretend to. It may not redefine the decade, but its solid, heartfelt statement reminds us why Fetty Wap mattered in the first place.