Jay Bahd – Simaku (Kumasi)
Jay Bahd – Simaku (Kumasi)
Jay Bahd runs Simaku (Kumasi) and the title is the homecoming. Track 2. Return Of Okomfo Anokye. 2021. Jay Bahd delivers a cut built on city pride, street code, and Asakaa territory.
Simaku (Kumasi) is Jay Bahd in repping mode. The title is the address. No tourist here. This is Jay Bahd planting flags. The track holds one directive throughout: loyalty. The curation leans on Asakaa drill, on local slang, on solo dedication. The delivery is raw with roots. Jay enters with bars that map the city and mark the claim. No feature, no translation. Just Kumasi dialect with concrete receipts. The production carries keys that chant with 808s that march. Bassline territorial. Tempo confident. It sounds like Adum nights, like 2021 Kumasi pride, like Simaku (Kumasi) because nothing was outsourced. This is not Accra. It’s Oseikrom.
The record positions itself as the passport. Jay Bahd isn’t visiting. He’s verifying. The solo weight matters. This is artist to city, track 2 offering. The energy shifts from war to home. The tone is rugged but proud. Verse documents, hook salutes.
If you want Jay Bahd with hometown heat, no cosign, and Simaku (Kumasi) energy on record, Simaku (Kumasi) delivers. It’s built for block parties, for ride-throughs, for when you need track 2 to feel like ancestry check.
In 2021, Jay Bahd used Simaku (Kumasi) to prove albums need geography. The project works because every catalogue needs a record that says it was soil first. The title is the landmark. Jay Bahd provides the lineage. One track, one city: track 2 belongs to the crown.
If you want Jay Bahd in city mode, no skips, and Simaku (Kumasi) as anthem — check for Simaku (Kumasi) by Jay Bahd. Bigxmotion will keep you updated track by track.
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