After Pop Smoke was shot and killed at the age of 20, the mixtape's third and final single "Dior" became the rapper's first solo and posthumous US Billboard Hot 100 hit, peaking at number 22.

[1] In April 2019, Pop Smoke befriended American producer Rico Beats, who was acquainted with Haitian-American record executive Steven Victor.

[17][18] Four hooded men, including one who was wearing a ski mask and carrying a handgun, broke into a Hollywood Hills house the rapper was renting.

[20][21] Pop Smoke was rushed to Cedars-Sinai Medical Center, where doctors performed a thoracotomy on the left side of his chest but a few hours later, he was pronounced dead.

[22][23] Aron A. of HotNewHipHop mentions that Rico Beats and 808MeloBeats "bring together elements from grime and drill to form a truly unique style tailored perfectly for Pop Smoke".

[25] DeMicia Inman for Def Pen stated the opening track "Meet the Woo" has "quick, rhythmic verses with a smooth, deep bass voice drastically different from the melodic rap popular now".

[28] Alphonse Pierre of Pitchfork commented that Pop Smoke's vocals on "Scenario" are "harrowing and Marvel-supervillain worthy, the beat a haunted amusement park".

[37] It features a group of men saying the names of people who are dead or imprisoned while Pop Smoke raps the song and holds a small child in his arms.

[47] The visual features Pop Smoke and a group of men and women dancing to the track in a strip club and in a nearby parking lot.

[49] Following the release of Pop Smoke's posthumous debut studio album Shoot for the Stars, Aim for the Moon (2020), the track peaked at number 22 on the Hot 100.

[57] In February of the next year, shortly after his death, the Yard Club in Paris, France, debuted an on-stage hologram of Pop Smoke that virtually performed "Dior" and "Welcome to the Party".

[58] Pierre, who gave the mixtape a 7.6 out of 10, said it "might be occasionally unimaginative, but overall Meet the Woo injects life into a Brooklyn drill scene that was running on fumes".

[28] Jon Caramanica, writing for The New York Times stated that Meet the Woo is a mixtape "full of tossed-off threats and rowdy bluster, a soundtrack for rumbles in dark basements".

[59] Writing for Vulture, Paul Thompson opined the mixtape "helped shape Brooklyn's drill scene, an emerging web of young artists who posit that New York can be just as interesting as an importer — and mutator — of other regional sounds".

[8] Crone gave the mixtape two and a half stars out of five, saying Meet the Woo has "lack of direction; from aimless style-mashing to rehashed lyrics, it's hard to see the album as anything more than a collision of styles".