Bostonians aren’t exactly known for their friendliness. Still, Dorchester native Cousin Stizz is especially standoffish. The rapper’s breakout single, 2015’s “No Bells,” was a study in understated, menacing territorialism. “Who you know from out here? Your name ‘aint ringing no bells, boy,” Stizz huffs on the song, over piano notes that reverberate through the air like, well, bells. In an era of busy, up-tempo trap beats, Auto-Tuned hooks, and vulnerability as currency, “No Bells” stood out. The song is skeletal and unapologetically cold—the sonic equivalent of a “keep out” sign. It announced Stizz as one of the few young rappers aiming not for club anthems but rather for the realism of life at street level.

Two years, two mixtapes, and a major label deal later, Stizz is now looking far beyond his Fields Corner block. On One Night Only, his debut release for RCA, the rapper assumes the stance of a self-assured star—stunting on his peers, taunting his naysayers, and calling in favors from the likes of Offset and G-Eazy. Production-wise, One Night Only is Stizz’ strongest project yet, though that’s not only due to the contributions of name-brand producers. While Wondagurl, VInylZ, and Dun Deal all land beats on the album, it’s the five tracks produced by frequent Stizz collaborator Tee-WaTT that give the project a real sense of cohesion. Using “No Bells” as a blueprint, the relatively unknown Virginia producer constructs lean instrumentals that are airy yet disorienting—a perfect pairing for Stizz’ stone-faced verses and catchy, half-sung hooks.

The results of this chemistry are often dazzling. Opener “Switch Places” is built around decaying tones that ping pong back and forth in the mix; the song sounds the way that staring out of a taxi after too many drinks feels. Evoking Drake, “Doubted Me” wraps Stizz’ wounded flexing in a glitchy neon glow. “Paid” grafts a trunk-rattling beat onto an icy vaporwave melody built from Game Boy violins and crystalline synths. And on “Headlock,” Stizz makes Offset meet him on his home turf: a wobbly, seasick beat, courtesy of VinylZ. “These days I run it like Ricky, I'm Ross,” Stizz boasts on the track, adding rhetorically, “What does it take, turn yourself to a boss?”

Stizz also toys with some new sounds on One Night Only, though he occasionally ventures a bit too far outside of his comfort zone. Both the marimba-heavy “Neimans Barneys” and the lurching “Jo Bros” borrow from the Migos playbook, brute-forcing catchiness through repetition; the latter even employs a Nextel chirp as a prominent sonic motif. Other stylistic experiments are less compelling. Mid-album cuts like the bouncy “No Ice” and “Paper Calling” (reminiscent of Future) feel a bit flat and drag on the record’s momentum. Worse yet is “Pullup,” wherein Stizz fails to land a funky sex jam, laying bare the limits of his charisma.

Cousin Stizz might lack range, though when his delivery clicks with the production, as it does on most of these songs, it’s hard to argue with the results. On One Night Only, he manages to carve out a distinctive lane in trap, offering up a slower, more hypnotic take on the Atlanta sound. Stizz himself, however, remains a bit of a cypher. While his early work felt insular, it also lacked a concrete sense of place or perspective. Now that he’s graduated from rapping about trying to acquire money to rapping about actually spending it, what once read as plainspoken relatability is starting to feel a bit generic: on most of these tracks, Stizz is just another rapper cataloging his access to women, cars, and designer clothing. But he makes it sound great, even if he continues to keep the listener at arm’s length.