djfrosty

After seamlessly blending her musical and acting talents for years, Simone Joy Jones is taking center stage with her debut album (released under her artist name S!MONE), Magnet. The multi-talented star of Peacock’s hit series Bel-Air stopped by Billboard’s NYC office for an episode of Billboard Gaming, bringing joy to a rainy day in New York City.

The inspiration behind Magnet lies in the concept of magnetism — the way we attract experiences and people by embracing our authentic selves. Through this album, Simone explores the seductive yet sometimes messy nature of attraction, unpacking the intricacies of relationships and the profound connections we form with others. It’s a deep dive into the push-and-pull dynamics of intimacy, vulnerability and self-discovery. The album is a rich blend of soulful melodies and introspective lyrics; it’s a testament to her artistry and an exciting new chapter in her creative journey.

We caught up with Jones and faced off in several rounds of Mario Kart while discussing her musical influences, balancing her thriving acting career with her passion for music, and the personal stories woven into her debut project.

Congratulations on your debut album, Magnet! It’s been out for a little over a month now. What’s the response been like so far?

It has been really lovely, honestly. I’m really thankful because it’s just something I’m trying out, you know, a new sound, something that I sound like right now. It’s been a long time since I dropped a project. So the growth has been really, really fun.

How would you describe your album to anybody who hasn’t listened to it yet? What do you think it sounds like?

I think it sounds like alternative soul. I feel like it’s a good kind of pocket for it to live in and I would say, I mean, I call it Magnet for a reason.

It’s effortlessly sexy, kind of attractive, you know. I also call it Magnet just to bring the type of people who like it, and who want to collaborate with me and all that s­—t. So yeah. I would say it’s also easy listening. I feel like I DJ the smoke session rather than the party. So that’s my whole deal with it.

The album explores the complexities of attraction and personal connections. What inspired you to dive into this theme?

Jjust living life. Like, it’s my first time in L.A.; I’m from Texas. We just talked about how L.A. can be wild. It could be, it could feel like not enough in a way. So it was my first time. It’s also just growing up — like, I was kind of growing up on Bel-Air. It’s been going on our fourth year, fourth and final year. A lot of stories are just inside of that album. I’m really happy about it.

How many producers did you work with on this project?

Oh my gosh, I’m gonna list them out. I don’t know if I can gather them. Solomon Fox, The Brown Boyz, Long Beach, “Circles” was also Brown Boyz. I would say probably six. Probably six producers for the ten tracks. I say a proper studio album is like a marriage between one or two producers and the artist; I feel like this has been like a bunch of summer flings that I’ve had with different. The only consistency is the writing in my project. I wrote every song in the project with help. Oh, also A-Lex, who I worked with at Atlanta Soul Fire. He helped me write “Short Notice” and he produced ‘Short Notice,’ which was sick.

A new conversation in music people talk about a lot is that they feel like albums should have like one to two producers max. People have been saying that the mixture of multiple producers kind of screws with the quality of music and the theme of the album because it’s too many cooks in the kitchen. How do you feel about that?

I mean, I feel like there’s some merit to that. But also, I was like, “Oh, f—k you.” Music is whatever, you know? There are no rules to music. That’s the whole point. But I do feel like consistency with an album does, translate. Honestly, I think more than the sound of it, it’s just the growth between the people there, you know? It’s the time spent together, growing something with a common purpose.

My favorite song is “Borderline”. What track is your favorite off the album? Do you have one?

I feel like I have phases with each of them right now, but right now I’m kind of in a “Circles” space.

And what about that track is like your favorite right now?

Actually, you know what, I’m going to say “Endless.” I really like how “Endless” is kind of angular. People would tell me, make sure the hook is super memorable and stuff. I agree with that with some, especially with “Borderline” and “Short Notice,” you know, they’ve got that really hooky stuff — but I like also when everything’s not the same, and I don’t like copy-paste chorus, you know, back and forth… Those keys [on the song are] kinda asymmetrical and weird, and so it’s like a loop. I just like how weird it is.

And so we got those keys, and we got to play with a crazy pack. Just to explore. And also, the song is really honest, you know — it’s really kind of vulnerable. It’s like, truly, those stories. I would kind of blush if we talked about it.

You don’t have a specific calling card associated with your music, like Vedo has “It’s Vedo Baby” or Mario uses “It’s Mario.” When I asked Vedo why he used one, he mentioned it was to help people remember him. I think it’s like a little easter egg, even though you know it’s there every single time.

Well, I’m gonna think about that next time I’m in the studio. Yeah. People call me Mo. People call me Simmy J.

Simmy J. What’s the idea behind that?

It was just high school, middle school, I don’t know. Everybody called me Simmy J.

Simmy J., It’s like you were meant to be a star.

Right? I’m a rapper for real. Yeah. That’s my true calling.

You mentioned earlier that you want your songs to be a part of people’s rotation. What would be the ideal setting or situation for your music to be played in?

I feel like starting at sunset when the sky is all pink, you’re like, settling down from the day. Maybe you go out a little bit later, but first you’re going to just chill with your friends. I feel like that is ideal Magnet play time. Cause I’m not DJing the function yet, but I do like when we’re like talking, debriefing about the day. That sort of situation, that’s more where I feel like my music hits the best, you know?

What type of music do you think fits the vibe of DJing the function?

Well, it depends on where you are. Like, I like watching new DJ sets too, so I like people who are super inventive and cool. But DJing the function, I mean, it’s just upbeat. You wanna dance. Like, I heard they played “Borderline” in the club one time, and I was like…

“What is this doing here?”

“Ariana, what are you doing here?” I felt like, “Okay, thank you.” Like, that’s cool. But I think there was like a transition to the R&B section of the night, when they were playing Summer Walker and stuff. So I was like, “OK, I get you. That makes sense.”

“Short Notice” is also a nice, fun vibe. How do you want listeners to feel when they listen to that track?

I want them to feel a little silly. I feel like it’s a bit sexy. It’s just loose, you know? I want people to feel like they’re getting dressed, ready to go somewhere, you know? It’s just the good vibes before either seeing somebody you really like,.

It’s a feel-good driving song too. I feel like whenever I imagine the video, it’s, “Oh, coming over.” It’s like I’m just happy to be there. I’m on my way, you know?

Your role as Lisa in Bel-Air introduced audiences to your acting, but now you’re focusing heavily on music. How do you feel your acting career has influenced your music?

Honestly, just keeping me open in a way that, I feel like my music is very honest and vulnerable, and in practice of being honest and vulnerable through a character. It really keeps me in that mode, you know? I think it’s easy to close yourself off to the world — ‘coz things happen, you know?

But I feel like that’s the magic in the music that I love to listen to. I remember listening to [SZA’s] Ctrl for the first time, and I was like, “We’re saying that?” Damn, I felt that, but I didn’t know we were saying that out loud, you know? So yeah, I want to get closer to that kind of stuff.

You mentioned playing a character. Do people often approach you and refer to you as Lisa? Do they recognize you as your true self, or do they mostly associate you with the character?

I mean, I get it. I’m not going to be like, “I’m not Lisa.” Like, they understand that, but introducing yourself, it is weird. Introducing yourself to the largest set of people you’ve ever introduced yourself to, and it’s not you. Literally, the world.

The show is drama. The show is like, anguish — and I mean, we have light moments for sure. Especially Lisa, who’s a little bit lighter, you know, cause they have fun, they’re in love. I feel like also Lisa’s going through it a bunch. So I feel like when people meet them, they’re like, “Oh, you’re really chill.” And I’m like… That’s literally not me at all. So that’s funny.

And do you feel like people think they know you because they know your character? Like they conflate Simone and Lisa as one person.

I feel like people didn’t like Lisa at first. Especially just being different from the original, too. People have a hard time grasping, “What is what?,” and what they want to hold on to from the source material and what they’re going to let go.

I feel like Bel-Air was embraced really, really well… I’m very grateful for that, but noticing the difference between, “Man, I don’t know if I was about it the first season, but season two and season three, man, I love you,” you know? So that tells me that they are kind of seeing me as Lisa rather than Simone, because why else would we have this conversation? Not like, “How was your day?” But I think that’s because I’m doing a good job. Hopefully.

I have a confession to make: I’ve never seen the original Bel-Air.

Wow. Okay. That is wild. There are a handful of people who have ours first. So what stopped you?

It’s just like, the show was an older show.

How old are you?

We’re the same age.

Okay.

Yeah. March 18th.

Stop.

Yeah. Pisces. Yes. Then you’re what, an Aries?

I’m a Pisces. You’re a Pisces. It’s wrong online.

Oh. When’s your birthday?

March 15th.

March 15? Oh, you’re three days older than me.

OK. But sure, a woman.

When I was choosing shows to watch on TV, I wasn’t picking older ones like that. I was focused on shows that were made in the current year, specifically for people my age. So, I just never got around to seeing it.

Well, you need to go back and watch it.

I love old school. I used to watch Full House.

Crazy that that’s old-school now.

I love George Lopez. I watched older television, I just never watched Bel- Air.

Right. Interesting. Well, you need to go home and watch it. You can’t say that for long. You can’t have that be your personality. Not personality. I know it’s not. You can’t let that be a cornerstone. It’s the last interview you can say that in.

I mean, nobody really has to know.

Don’t you dare cut this part out. It’s so funny.  

Getting back into the music, some of your songs are actually featured on the Bel-Air soundtrack, right?

My very first EP was on Bel-Air. Yeah.

How did that feel?

So crazy. I remember because Morgan Cooper, he texts me. I didn’t even know until I had to like sign papers basically for its release.” And I was like, wait, “Morgan, what is this about?” And he was like, “‘Ball Out’ is on Bel-Air…” And I was like, “that’s crazy.”

But it was such a crazy full-circle moment too, because that was like one of the first songs I had ever made. And it’s because I took a chance with a $20 ticket from Texas to L.A., cause they were insanely cheap for some reason. I was like, “Is the plane going to take off?”

I was in the studio, and I had my bags still with me. But I was like, “I’m going to do it.” And so just having that be my first sync placement too was pretty wild. Super-grateful for that.

Do you watch the show at all?

I usually let the show do its own thing. You know what I mean?

Have you had the chance to hear your song in the episode yet?

So I do watch it, because we have watch parties — and you know, we do the thing — but I feel like [when] I watched my performance, I see what I could do better, you know, something different. I watch things very critically too. So that’s why it’s like, even regular TV sometimes — I’m like a bigger reader now since I’ve been acting.

Sometimes it feels like work… Like, okay, I’m looking at the direction. “Oh, that’s a different choice at the shows. Oh, the lighting. Oh, why would she do that? Oh, I wonder how long it took to get that location.” Like, that’s what I’m thinking about when I’m watching TV. It’s kind of exhausting.

I read online that Bel-Air was renewed for its fourth and final season, and I’m a bit disappointed. Final season? Why? I prefer shows to have at least five or six seasons.

Right? That’s a nice, comfortable situation.

I’m from a time when shows had 23 to 30 episodes per season, each about 43 minutes long, and ran for eight seasons. Now, we have shows with only six episodes per season. And they’re an hour long. I’m just like, “Why?” We need more. So how do you feel about it only getting four seasons?

I mean, it feels like college or high school. You feel like you’re not really ready to leave — but then by the end, you’re like, “OK, it’s time to explore something else,” you know? But a lot of shows don’t get the luxury of knowing it’s their last season.

So it’s a blessing to know that. It’s like we get to write our own ending, which is really beautiful. And so I’m excited. I’m really, really excited about it.

And will any tracks off Magnet be on this season?

Oh, maybe we’ll build something new. Just for the show.

When people watch the show and hear your music, do they recognize that it’s you? Do your family or friends, like your mom or dad, immediately know it’s your voice in the episode?

On the artist’s music, you can tell when it gets Shazams. And what was so cool — I think Shazams are the biggest compliment, because you have no idea what the song is. You’re just trying to find it before it leaves. And so, when it aired, the Shazams were just through the roof.

And so that’s when I was like, ‘That’s really, really cool.” It kind of stopped [people watching]… they’re watching a full show, you know, and you’re not even at a cafe or anything. So I feel like they kind of got to know it was me. But I feel like my music and artistry are pretty separate at the moment, which I feel like they’re [only now] just kind of melding. It’ll be like a little random burst on TikTok, and people will be like, “She can sing? What?”

Yeah, I didn’t know you sang for the longest.

You know, sometimes they try to make Lisa sing, but… I’m like, no, it’s got to make sense [for the show].

How do you balance your acting career with your music career?

Right now, I’m thankful because it’s been a treat in my off-season for acting. I’ve just been in the studio. I’ve had a really beautiful community in L.A., Atlanta, and New York that has really accepted me with open arms because I’ve come from a huge musical theater background.

That’s why I’m about to do something for Playbill, you know, in an hour. So that’s my big background. It’s so funny when people ask about music or acting, because music and acting have been one and have beautifully coexisted in my life. So, I’m like, “Why would I ever have to choose?”

Yeah, but I feel like music and acting have always been interconnected.

That’s true. Like, when you watch movies, there’s a soundtrack behind it, you know?

Or, like, some movies are about dancers. And you have to be a dancer to be able to even act in that role. You ever seen Hit the Floor?

I was thinking, I was [wondering], which dance movie is, like, your jam? I have seen Hit the Floor.

I’m currently watching Hit the Floor, and I’m realizing that these people are genuinely talented dancers.

For real. Honey.

I love Honey. I love Honey 1 more than Honey 2.

Yes. Absolutely. Step Up.

Bring It On is more focused on cheerleading, but it’s still a form of dance — and probably even more intense. They’re doing flips and everything. I absolutely love Bring It On.

The first one, I feel like it’s so classic. And honestly, I’m not even sure if I’ve watched the second one.

Your music blends introspection with joy and playfulness. How do you balance the contrast?

Thank you for saying that. I’m happy you picked up on that.

I feel like because they coexist in real life, you know? Just the fact that we’re talking about being canceled, and it’s kind of funny. I feel like great scripts do that too. Like, if it’s just a drama, if it’s sad the whole time, you’re like, damn, I kind of hate that show. That show sucks, because of the way it makes you feel. Or, like, in situations where it’s our hardest times, we tend to laugh.