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In an impressive year for Caribbean music, Jamaican-born, New York-based rising star Cjthechemist is one of the few artists who can say they produced the riddim for their own hit song. 

“Me like good girls, weh love badness/ Me like independent bad b—h/ Drive-by any time, love e madness/ Me like f—k inna e party, me toxic,” goes the seductive intro of Cjthechemist’s Chronic Law-assisted runaway dancehall hit, “NY Girls.” 

Built on a trap-dancehall foundation and laced with finger-picked guitar and solemn brass, “NY Girls” is an ode to the Big Apple’s finest women. But Law’s sultry vocal and the pair’s hyperspecific, borough-name-checking lyrics are what encouraged the ladies of NYC’s Caribbean diaspora to embrace the track as their latest anthem. Originally released on May 9, “NY Girls” quickly became one of the hottest songs in its namesake city, prompting other dancehall stars to put their own spin on the riddim. 

Now that Armanii (“Link Up”), Valiant (“All Ova”), Kkrytical (“Bring It”), Yaksta (“Hooked on You”), Shaneil Muir (“Hurt”), Kraff Gad (“Maniac”) and Bayka (“Baddie”) have graced the “NY Girls” riddim, The Chemist has recruited Grammy-nominated rap superstar French Montana for the latest remix. After appearing on Masicka’s “Whites” remix earlier this year, French is a smart addition to “NY Girls.” His cadence pairs well with the foreboding nature of trap-dancehall production, and his Bronx roots only bolster the song’s claim to the title of new-age NYC anthem. On Friday (Nov. 21), The Chemist will unveil an NY Girls Riddim album, compiling 15 different spins on the hit riddim, including new tracks from Pablo YG, Dre Island and Dejor. 

“He’s the OG,” Cjthechemist tells Billboard a few days after shooting the music video for the remix. “I wanted somebody from New York. He reached out, and I accepted. It’s a big move.” 

After exploding onto the scene in 2021 with the smash “1Matik” riddim and his debut album, The Formula, Vol. 1, Cjthechemist has spent the past two years cementing his status as one of the most consistent producers in the dancehall game. At August’s Caribbean Music Awards, “Higher Life,” which he produced for Kranium and Chronic Law, earned three nominations, including dancehall song of the year. 

Below, the multi-hyphenate speaks with Billboard about producing the “NY Girls” riddim, the contemporary Caribbean music that excites him most right now, and the new songs he has on the way with Dexta Daps.

What’s the first song you remember getting stuck in your head as a kid? 

It was at DF Kelly Production. [1998’s] “Bashment Party” by Rayvon and Red Fox. That’s from primary school. I could visualize everything he was saying, so that song really stuck with me. 

What are some of your earliest musical memories? 

When I was around 14, I put out my first official track with an artist called “New York, New York.” I wasn’t even producing at the time, just making beats. I remember seeing my name on the CD, and it was mind-blowing — even though mi neva mek a dollar because I didn’t know the mechanics behind it. But that was the first time I was like, “Yo, I really want to do music.” 

Do you remember when you started DJing? 

I was a DJ before a composer. I was originally named DJ Frax, and I used to make mixes on an Atomix MP3 player. Once I found out how to record the mixes, I started selling them to my friends, which brought me to FruityLoops. And I just started making beats from there.  

Which producers inspired you? 

The first producer whose beats I really analyzed was Tony Kelly and his [1998] “Bookshelf” riddim. My father had the instrumental on the computer, and I would listen to it over and over — not to add to it, but to deconstruct it. And it was so simple. I knew immediately that it was the sound I wanted to go with. 

Where did you first get the idea for the “NY Girls” riddim? 

Well, just like KFC, mi nuh give out di full recipe. [Laughs.] I was talking to my friend RJ about what records work for him more; he said the uptempo stuff works better, but people still like to hear him talk slow. I thought I could meet him in the middle, so I found the right tempo for the beat, but didn’t know what to sing about. For him, “gyal songs” are not one of his biggest strengths, so I told him to sing about girls in his own way. 

It was like a raffle: Dexta Daps was on the riddim, then Kranium, then Chronic Law. A bunch of us were in the studio together, and I was [playing] different beats. The first time [“NY Girls”] played, Dexta was like, “What is that?” and Chronic Law was like, “It’s mine!” It was like a tango. I played a different beat, and Dexta took that one, so Law came back the next day and started writing “NY Girls” on his phone. That was the first time I’d ever seen him write lyrics on his phone. He asked me to help him with the second part of the song, and the rest is history. 

When did you realize the song was gaining traction? 

From the day I put it out. But I didn’t think it was going to go outside of the New York diaspora. Chronic Law had a priority record called “ATL” that was a similar vibe, but more about gangsters, so the art of this was incorporating the ladies into it. Soon enough, people from England and Italy and all over started using the song and tagging us, so I knew it was bigger than New York. 

Why do you think people are connecting to the song so much? 

The intro alone is crazy. Then, Law used the word “independent.” He gave the ladies something to hold onto and talk about. Even if you’re not from Brooklyn, you’re still a bad b—h, and you’re still independent. 

Why did Chronic Law deserve to get that first spot on this riddim? 

It’s just the closeness of me and him, and the chemistry that we create. It’s good when you have a friend and a music partner you can make a promise to. We’re just trying to give each other hits, so we meet at a common ground. I grew respect for him. He’s a fun, phenomenal artist. He’s very quick, and he challenges himself and me as a producer. 

Did you feel any pressure to follow the “1Matik” riddim? 

Yes. I had the “1Rifle” riddim, and I wouldn’t call it a flop, but it wasn’t as successful as the “1Matik” riddim. You’re only good as your next thing. I don’t really try to “follow” success because it’s a high; if you try to follow it, you’re a crackhead. So, I just do me, my way. I only do music with people around me. I reach out to people, don’t get me wrong, but I prefer to cater to those in my immediate space.  

Last year, you also produced Higher Life, which earned three nominations at the 2025 Caribbean Music Awards. How did that song come together? 

Me and Kranium go way back; I’m one of these personal engineers. He called me one Sunday morning, saying, “Come give me a hit song.” Those were his exact words. I said, “Aight, cool, mi dere!” I played him the “Higher Life” beat, and it wasn’t his first pick.  We started working on a song, and I was like, “I have something else mi wan yuh fi listen to.” 

I played it, and Kranium started humming, so I called my friend Ajji to slide through, and we finished the song. Then, Kranium asked me if I thought Chronic Law would cut a verse, and I was like, “Consider it done.” The song was really good without Law, but he completed it. 

When you think of dancehall right now, what three words come to mind and why? 

“It’s something new.” The music has changed, but I think we’re going back to the authentic-ness of the sound. We have room for improvement on a lot of things, but I think we’re going in the right direction. Now is the time when we’re separating the boys from the men, especially now that Vybz Kartel is back. It’s a level ball game. Nobody’s above nobody right now. 

You said that “nobody’s above anybody,” but, in your opinion, who’s running the place right now? 

I run di place. Dem try and keep up, but it’s hard! 

We haven’t gotten an album from you since 2021. When can we expect the next one? 

Soon. We’ll have a series of albums. I’m working on something called Chemist Presents to show Chemist as an artist, Chemist as a producer, etc. And we’re going to have a part two of the last album [2021’s The Formula, Vol. 1]. We’ll also put all of these tracks on a compilation and feed it back to the people. 

What else do you have planned for the rest of this year? 

I have a song with Dexta coming called “Rose,” and another one called “Champagne.” 

What sounds across the Caribbean are most exciting to you right now? 

I like Yung Bredda’s record, “The Greatest Bend Over.” Lady Lava is really fresh, too; she has that dancehall energy even if she sings soca. She will be accepted in any room. 

What do you want to see from dancehall next year? 

More and more records breaking through. I think we need that back in the space. I think we’re equipped now, and we have the knowledge now to go about it the right way.