Keznamdi’s Freestyle Draws Praise and Fury From The Political Arena — “Nuh Likkle Rasta Bwoy Cyah Mek Me Hate PNP”

Reggae firebrand Keznamdi has ruffled feathers and sparked fiery debate with his now-viral “Hollywxxd (Blxxd and Fyah Freestyle),” a blistering lyrical assault that takes aim at society’s moral failures, global scandals, and—most controversially—the Jamaican political directorate. Dropped just days before the nation’s September 3 general election, the freestyle has exploded across social media, attracting tens of thousands of views, reposts, and comments as Jamaicans dissect his unapologetic critique of the system. “Is full time smaddy talk bout the dutty politician dem weh a mash up di country,” one supporter declared, while another hailed the effort as “LYRICALLY POTENT!” and “the FIRE wi need inna di ting.”

But not everyone welcomed the outburst. Some listeners warned the artist to steer clear of politics altogether, with one detractor cautioning, “yute if yuh kno wah gud fi yuh lef politics alone.” Others bristled at perceived bias, with one fan pushing back that “nuh likkle rasta bwoy cyah mek me hate PNP #TimeCome,” while another commented, “I can understand what he’s saying about PNP, but Andrew means the country well.” These criticisms highlight the risks of wading into partisan waters, where even socially conscious commentary can be interpreted as political allegiance. For Keznamdi, the backlash is proof that his fire is cutting deep into one of Jamaica’s most polarising conversations.

The controversy lands at a pivotal moment in his career. On August 22, Keznamdi released his sophomore album Blxxd & Fyah, which stormed to No.1 on the U.S. iTunes Reggae Albums Chart and secured four of the top six spots on the Reggae Songs Chart, including fan favourites like “Time” and “Pressure.” The project’s momentum was amplified by the viral freestyle, which industry heavyweights Bounty Killer, Mavado, Stonebwoy, and even international names like Swizz Beatz and Winnie Harlow publicly endorsed. Together, the freestyle and the album have positioned Keznamdi not only as a bold truth-teller but also as one of reggae’s most relevant voices in 2025.

In the span of just a week, Keznamdi has managed to both ignite political discourse and dominate digital charts, proving that reggae’s capacity for social commentary remains as powerful as ever. Whether one views his freestyle as dangerous provocation or necessary truth, its impact is undeniable—fueling debates in homes, dancehalls, and online spaces alike. As Jamaica prepares to head to the polls, Keznamdi’s fire serves as a reminder of reggae’s enduring role: to agitate, to inspire, and to challenge the system.