Peezy’s name is etched into Detroit rap history. As a founding and once-dominant member of Team Eastside, he soundtracked much of the city’s life throughout the 2010s. Beyond his prolific output, Peezy’s influence extended to guiding rising stars like Babyface Ray and Damedot, and he was instrumental in signing Rio da Yung OG, helping to bring Flint’s rap scene to national prominence. His role as both artist and mentor cemented his legacy in the region’s music culture. However, while his contemporaries thrived, Peezy’s momentum stalled during a prison stint from late 2019 through 2020 due to a RICO charge. In his absence, Detroit’s rap scene evolved. Babyface Ray emerged as a critical favorite, Detroit scam rap gained viral fame on TikTok, and artists like Veeze saw their careers skyrocket. By the time Peezy returned, the landscape had shifted dramatically, with Babyface Ray stepping in as the de facto face of Detroit rap.
Since his release, Peezy has been more reactive than innovative, often chasing trends rather than setting them, as he did with his pre-prison classics No Hooks and No Hooks II. His latest album, GHETTO, continues in this vein, offering a formulaic collection of Detroit-style beats and uninspired lyrics. Tracks like “No Amiris” feature bars that feel recycled: “Say my name one time, watch this bitch get litty.” The project feels more like an exercise in routine than a statement of artistic intent. Peezy has proven he can still strike gold, as he did with 2022’s “2 Million Up.” The track, built on a modern G-Funk beat, resonated with its mix of triumph and grit, becoming a Billboard hit. However, rather than use this success as a springboard for artistic reinvention, Peezy has leaned into a safer formula of low-risk singles and predictable album cuts. GHETTO rarely deviates from this playbook, leaving much of the 16-track, 46-minute project feeling stagnant.
The album does feature a strong roster of collaborators, including Key Glock, Larry June, and BabyTron, all of whom deliver standout verses that often overshadow Peezy. However, many of the tracks blur together into an exercise in passive listening. The repetition in themes and sound makes it hard to distinguish one song from the next. There are moments, though, when Peezy shows flashes of the artist he could be. “What If” stands out as a deeply introspective track, reminiscent of Jadakiss’s “Why?” Here, Peezy reflects on loss and the unpredictable twists of fate, including the death of his Team Eastside collaborator Snoop. Similarly, “Marni Slippers” and the album closer, “Blessed” featuring Ty Dolla $ign, offer glimpses of vulnerability and emotional depth that elevate the project. While Peezy’s natural talent ensures that even his most uninspired work remains listenable, GHETTO largely plays it safe. Music thrives on risk-taking, and for much of this album, Peezy avoids stepping out of his comfort zone. Still, those moments when he pushes the boundaries remind us of his potential, leaving listeners hoping for a more ambitious direction in the future.