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After successfully merging her musical and acting skills over the years, Simone Joy Jones is stepping into the spotlight with her debut album, Magnet, released under her stage name S!MONE. The star, known for her role in Peacock’s popular series Bel-Air, recently visited Billboard’s office in New York City, brightening up a gloomy day with her presence and a session of Billboard Gaming.
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The core theme of Magnet revolves around magnetism, drawing parallels to how we attract people and experiences when we remain true to ourselves. This debut exploration tackles the nuanced and sometimes chaotic aspects of attraction, offering insights into intimacy, vulnerability, and personal evolution. With a combination of soulful tunes and reflective lyrics, the album is a compelling showcase of her artistic expression and marks a significant milestone in her creative endeavor.
During our conversation, Jones engaged in a friendly competition of Mario Kart, all while sharing her inspirations, the juggling act of her flourishing acting career alongside her musical pursuits, and the personal narratives intertwined in her album.
Congratulations on your debut album, Magnet! It’s been over a month since its release. How has the reception been?
The response has been truly wonderful. I’m grateful because I’m exploring a new sound that feels authentic to who I am right now. It’s been quite some time since my last project, and witnessing my growth has been a thrilling journey.
How would you characterize your album for those who haven’t yet listened to it? What can they expect?
I would describe it as alternative soul. It’s a fitting genre for what I aim to convey. The title Magnet reflects an aspect of attraction that I believe resonates with listeners.
It embodies an effortlessly appealing vibe. I embraced the title Magnet to attract listeners and collaborators who resonate with my music aesthetic. It represents an easygoing listening experience. I envision it as the perfect backdrop for a chill gathering rather than an energetic party.
The album delves into themes of attraction and interpersonal connections. What motivated you to explore these topics?
It all comes from my life experiences. Moving to L.A. from Texas was a significant transition for me; there’s a lot to unpack from that. As I’ve evolved throughout my time on Bel-Air, I’ve gathered a multitude of stories that I wanted to express through my music.
How many producers collaborated with you during the making of this project?
I can name quite a few! Solomon Fox, The Brown Boyz, and A-Lex contributed significantly. In total, about six different producers worked on the ten tracks. I believe a cohesive studio album usually thrives with just a couple of producers, whereas this felt more like finding inspiration through numerous short collaborations. The continuity is found in the songwriting, which I penned for every track, often with assistance.
There’s a conversation in music regarding the idea that albums should ideally have one or two producers to ensure cohesion. What are your thoughts on that?
I can understand that perspective, but I am also a firm believer that music should defy boundaries. There are no strict rules. While there is truth to the idea that consistency in an album can enhance its impact, the process of bonding and creating something unique with diverse collaborators can yield beautiful results as well.
One of my favorites from the album is “Borderline.” Do you have a favorite track from Magnet?
At the moment, I’m really vibing with “Circles.”
What is it about that track that resonates with you?
Actually, I’ve shifted my preference to “Endless.” I appreciate its distinctiveness and the unconventional structure of its melody. While some tracks focus on catchy hooks, “Endless” offers an unusual sound that’s both sincere and vulnerable, conveying genuine stories that are a bit more complex than they appear.
Unlike some artists, you don’t have a signature tagline associated with your music. Have you considered creating one? Vedo mentioned that doing so helps people remember him.
I’ll definitely think about this as I continue to develop my sound. People often refer to me as Mo or Simmy J, which could fit a tagline.
Where does “Simmy J” come from?
It originates from my school days—everyone just began calling me that.
It seems like you were destined to shine.
Exactly! I’ve got that rapper spirit in me. That’s where my passion lies.
You’ve emphasized your desire for your songs to resonate with listeners. What do you envision as the ideal context for your music?
I imagine a perfect setting being at sunset, where everyone is just winding down from the day, enjoying a moment with friends. It’s the quintessential time for Magnet to be appreciated. It’s not about being the life of the party yet; it’s about relatable conversations and relaxed moments.
What kind of music tends to set the tone at a party?
That varies depending on the vibe. I enjoy listening to innovative DJs, but party music generally invites an upbeat, lively atmosphere. I recall a time when “Borderline” played in a club, and I was surprised by its placement.
How do you envision listeners responding to “Short Notice”?
I want them to feel a mix of excitement and lightheartedness. This track embodies a playful energy that encourages the listener to get ready for a good time—almost like the joy of preparation before meeting someone special.
Your portrayal of Lisa on Bel-Air marked your transition into acting; now, you’re heavily invested in music. How has acting informed your musical journey?
Acting has helped me tap into authenticity, enhancing my ability to be honest and vulnerable in my music. Engaging with characters fosters a deeper connection to emotional expression, which influences how I create.
When fans approach you, do they mainly reference your role as Lisa, or do they view you as Simone?
I completely understand why they associate me with Lisa. It’s quite interesting navigating that perception, especially when entering spaces where most people know me as a character, not as an individual.
Do you think fans conflate the character with your true self?
Absolutely. Especially given the differences between my portrayal and the original Lisa. Viewers have a tendency to hold onto their memories of the source material, which can complicate their understanding of my unique interpretation.
I must admit, I haven’t seen the original Bel-Air.
Seriously? That’s interesting—there are people who stumbled upon ours first! What stopped you from watching it?
It seemed older and I was more interested in current shows.
How old are you?
We’re the same age, actually.
Alright then!
Yes, March 18.
Stop it.
Indeed. A Pisces!
Okay. And what about you, an Aries?
Actually, I’m also a Pisces. My birthday is on March 15.
So you’re just three days older than me!
So true, so interesting.
When I choose shows to watch, I often focus on more recent productions rather than older shows.
Well, you should definitely check it out. You might enjoy it.
I appreciate older shows too—I used to love Full House.
Right? It’s nostalgic now to think about it.
I have a fondness for George Lopez as well, but Bel-Air just skipped my radar.
Well, you’d better make time to watch it. You shouldn’t let that be the talking point in your conversations forever.
It’s all good. Not everyone needs to know.
Please don’t remove this section; it’s entertaining!
Returning to music, I understand that some of your tracks feature in the Bel-Air soundtrack, correct?
My first EP was included in Bel-Air—it was surreal!
What was that experience like?
It felt unreal. I remember when Morgan Cooper reached out to me about it. I was taken aback because I hadn’t realized until I had to sign some documents for it. I thought, “Wow, ‘Ball Out’ is part of Bel-Air? How insane is that?”
It brought things full circle too, as it was one of my inaugural projects. It stemmed from taking a leap of faith with a flight from Texas to L.A., which was astonishingly cheap back then.
I was literally carrying my luggage to the studio, but I said to myself, “I’m doing this.” Securing that as my first sync placement was truly a blessing.
Are you an active viewer of the show?
I prefer to let the show thrive on its own trajectory.
Have you experienced hearing your song featured in an episode yet?
I do have watch parties, so I catch the episodes there, but I tend to be critical of my performances, thinking about how I could improve. I approach viewing very analytically now that I’ve been involved in acting.
At times, watching feels like a job—assessing direction, lighting, and every detail regarding the setup can be quite taxing.
Having read that Bel-Air is set for its fourth and final season, I was taken aback. Four seasons? What led to this decision?
It resembles the feelings one has when leaving school, at first reluctant, but ultimately welcoming the next phase of life. Unlike many shows, we have the advantage of knowing it’s our last chance to conclude things properly.
It’s a privilege—a rare opportunity to write an ending that feels satisfying. I’m sincerely looking forward to what’s next.
Will any tracks from Magnet feature in this season?
Oh, there might be something fresh crafted just for the show.
When viewers hear your music, do they recognize your voice? Does your family instantly connect the dots?
When my songs air, it’s interesting to see how many people are quick to Shazam them. I consider Shazams a high compliment—people are eager to uncover the song before it’s gone. During my appearance, I noticed a sharp rise in Shazam activity indicating people were connecting the dots and recognizing my voice.
However, I think my music and persona are still perceived as distinct, but they are beginning to converge more than ever, especially recently as I gain more visibility.
It’s interesting—I didn’t know you sang for a long time.
Occasionally they toy with having Lisa sing, but it should align with the narrative.
How do you maintain equilibrium between your acting and music careers?
I’m grateful for this off-season from acting—it’s allowed me to immerse myself in music. I feel embraced by a wonderful community in L.A., Atlanta, and New York due to my roots in musical theater.
That’s part of why I have an upcoming project with Playbill. Music and acting for me have always been intertwined, so choosing one over the other feels unnecessary.
Music and acting do carry a connection.
It’s true—soundtracks elevate a film’s emotion and atmosphere.
Films often blend dance, too, making it necessary to be skilled in both fields. Have you seen Hit the Floor?
Absolutely! It’s quite fascinating to watch.
I’ve recently begun watching Hit the Floor and it’s evident that the dancers are highly skilled.
Absolutely, Honey is an excellent example.
I have a soft spot for Honey, especially the first one, over the sequel.
Most definitely! Step Up is another classic.
Bring It On channels cheerleading, but it’s intensely energetic and captivating. I adore Bring It On.
The first one remains a classic for good reason. I’m not even sure if I’ve watched the sequel.
Your music artfully juxtaposes deeper themes with joyfulness. How do you navigate this contrast?
I appreciate you recognizing that! It’s something I strive for, intentionally blending various emotions.
The interplay of these emotions is reflective of real life. Just as we experience humor amidst hardship, my music aims to convey that complexity.
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