Rastafarian crooner Keznamdi is experiencing a post-Grammy surge few reggae artists ever see. Just 48 hours after capturing the Best Reggae Album title at the 68th Grammy Awards, his sophomore project Blxxd & Fyah has skyrocketed an extraordinary 104 places to No.5 on Jamaica’s Apple Music Top Albums Chart, officially registering the largest single chart jump on the platform over the past year and signalling a powerful resurgence of the album at home and abroad.
The Grammy victory, announced during the Premiere Ceremony on Sunday, February 1 at the Peacock Theater in Los Angeles, has sparked a ripple effect across streaming platforms. In Jamaica, Blxxd & Fyah now sits firmly in elite company, trailing only Don Toliver’s OCTANE at No.1, Jada Kingdom’s Just a Girl in a Money Man’s World EP at No.2, Masicka’s Her Name Is Love at No.3 and Olivia Dean’s The Art of Loving at No.4. The leap signals renewed domestic interest in a project that had already made waves internationally since its independent release on August 22, 2025.
Across the Atlantic, the momentum is just as strong. Blxxd & Fyah has reclaimed the No.1 spot on the U.S. iTunes Reggae Albums Chart, dethroning Bob Marley, with Lila Iké’s Treasure Self Love holding No.2. On the U.S. iTunes Top 100 Reggae Songs Chart, Keznamdi currently occupies three positions, led by Forever Grateful featuring Masicka at No.38, followed by Serious Times at No.60 and Pressure at No.70. Meanwhile, the Forever Grateful music video has jumped past 1.2 million views on YouTube, continuing its upward climb since Grammy night.
The success feels like the culmination of a steady, strategic rise. From debuting at No.1 on the U.S. iTunes Reggae Albums Chart upon release last summer to securing multiple Canadian and Jamaican chart entries, Blxxd & Fyah has proven its staying power. Now, buoyed by Grammy recognition and a renewed surge in streams, Keznamdi appears poised for an even bigger global chapter, with his blend of roots, reggae and cultural commentary finding fresh ears worldwide.
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