Freda Rhymz is the epitome of intersectionality as she has found her on niche in Ghanaian hip-hop — fusing Afrobeats with hip-hop, hiplife and highlife. She also lifts up the diversity within Ghanaian identity by including bits of Twi, Pidgin and English into her lyrics. To a western audience, Freda’s song KMT coupled with her music video represents a departure from traditional views of women. She even picks fun at these stereotypes laughing at “emotional singers” while showcasing her own aggressiveness both in her stance and lyrics. Freda takes this idea of toxic masculinity, or expectations for men to be violent” (Oriade, 2). The music video itself embodies this energy by including negative flashes, rapid changes in shot angles and the zoom scale.
The song KMT also sheds light on the intense competition between female artists as rappers like Kanyi Mavi have alluded to. Freda raps that she will “show you who the best is” and tells critics to “shut the fuck up”. In a continent of 54 countries which has a rich history of rap music, large populations are fighting for the same few spots from major record labels. Female rap artists like Rhymz are even less likely to get these deals resulting in a cutthroat competition to have the ‘best flow’. However, she has managed to attain her own niche by defying the stereotypes rather than conforming to Western expectations. Rhymz follows in the footsteps of rappers like Angel Ho who ironically branded herself with the name ‘Ho’ to reclaim the narrative that women are promiscuous (Haupt). Overall, KMT possesses a steady and energetic flow that is entertaining throughout as Freda switches languages. She is a confident and knows that she is a boss compared to artists like Nicki Minaj in the West (who she references in the song) who fit the image that capitalistic record labels want — sexy and secondary.