Looking dapper in a pork pie hat, Muscle Shoals native Bay Simpson sang Tom Petty’s ‘The Waiting’ to four stubbornly unturned chairs on NBC’s The Voice—a song title that proved prophetic as his musical parents, Angela Hacker and James LeBlanc, held their breath in the wings. Finally, Adam Levine spun around solo, which was just enough to land Simpson a spot on the show. He made it to the Knockout Rounds before losing to Alexia Jayy, but that setback didn’t knock him out of the music game. His new single, ‘Too Good to Be True,’ is an early-2010s rock throwback co-written with Brian Maher (Justin Moore, Taylor Swift) and James LeBlanc (Martina McBride, Rascal Flatts, Kenny Chesney)—proof he’s keeping excellent company both on-screen and off.
We caught up with Bay to discuss the new track, what makes his voice distinctive, and whether The Voice taught him anything besides patience.
Your mom, Angela Hacker, walked a similar road—she won Nashville Star, basically the country cousin of American Idol. What advice did she give you about that particular path before you stepped onto The Voice stage?
She mainly encouraged me to be myself. I think the TV world has changed so much since then, and that a lot of her experiences were very different. Obviously, she gives pointers on how to carry myself and talk to the cameras, etc., but she is great at supporting me in being my own person. She didn’t push me into music, so she mostly stands back and lets me figure things out.
You revealed on The Voice that Elvis Presley is your distant cousin! So what career skill or personality trait do you think you picked up through the bloodline—or wish you could’ve inherited?
I think I definitely got the edgy rock ’n’ roll vibe from him, that’s for sure! There are so many things that were kind of handed down through the bloodline that started with Elvis’ fame, such as how to dress, style the hair, etc., all of the stereotypical rock ’n’ roll stuff. I don’t think I sound much like Elvis at all, but I do hope to help carry on the family legacy of rock ’n’ roll.
High school inspired ‘Too Good To Be True.’ So how did the artistry start taking shape back then—were you joining bands, scribbling lyrics in English class, or just quietly listening to a tune when you definitely shouldn’t have been?
I was always listening to music when I shouldn’t have been. They gave us iPads to study with once we hit 9th grade, and I was always studying some music. I was not seriously pursuing music in high school, even though I did play guitar and sing. I was way into athletics, but I always had music in my veins.
The song has that Simple Plan, early-2000s-into-2010s rock energy. What do you love about that era that feels like it packed up and left without a forwarding address?
I love the simplicity of that era of music. The songs had great melodies and hooky guitar parts. That’s what I grew up on. It’s so ingrained in me that even when I try not to write that way, it’s still going to come out. I try to follow the method of that era and write very melodic, memorable songs.
The track was co-written by Brian Maher and James LeBlanc—two guys whose credits read like a country music hall of fame entry. What’s your favorite lyric that snuck its way out of those sessions? Did it need the rewrite treatment, or did it just fall out easily?
My favorite lyric from this particular song is probably in the outro: “It all worked out in the end, Mary married my best friend.” I like it because it’s funny, and it’s also true. To add on, I’m currently dating a different girl named Mary, so you can imagine how ironic it is to her! Hahaha. Hopefully, this one works out. This was not a rewrite. I had the chorus mostly done, had Brian and James help with the verses, and that was that.
Kid Rock recorded your song ‘Never Enough!’—which proves music doesn’t check IDs at the door. How did it feel to have someone like that resonate with your words?
It felt amazing. That was my first song recorded by a major artist. It was a ton of affirmation for me. I already somewhat believed in myself before that moment, but getting that cut just confirmed what I had hoped to be true about myself.
You mentioned Tom Petty’s on your Mount Rushmore of artists. Who else made the cut, and who almost did?
This one is always so difficult. If Mount Rushmore means four choices, I would say that Paul McCartney, Neil Young, and Pete Townshend would join Petty on mine. I love guys who rocked, who could also write incredible songs, play guitar, and sing. All of these guys listed have that. I would say that Kurt Cobain, Rivers Cuomo, and Glenn Frey almost made the cut. I get a lot of comparisons to Glenn Frey due to the hair and the simplicity of my vocal style.
You didn’t even plan to audition for The Voice—a casting director reached out to you. What were you in the middle of doing with your music when that call came in, and how close were you to saying no?
I was in the middle of my regular grind, writing songs for myself and co-writing for other artists, while playing as many shows as possible to pay the bills. I wasn’t close to saying no; it was always a yes for me. Any chance to go on TV and try to gain a bit of a following is going to be a “yes” from me. Not to mention, The Voice crew is amazing. I wouldn’t trade that time for anything.
Choosing ‘The Waiting’ by Tom Petty—even the song title tells the story. Years of grinding, then Adam Levine hitting his chair on the last note like a man who almost missed his bus. What was the perspective shift that turned all those years of waiting energy into living in the now?
I think it was just an immediate thought of “Thank you, God” flashing through my mind as I saw that chair light up and turn around. To be honest with you, I’ve been in the hustle of the music biz for so long now that, chair turn or not, I know I’m going to continue that hustle for years to come. This is all a part of the process for me. However, The Voice has been the most fun part of that process so far.
John Legend called your sound “a little weird in a very cool way,” and Kelly Clarkson backed it up by saying, “weird means sexy and intimate.” When did you first realize your voice didn’t sound like everyone else’s—and was that a panic moment or a pride moment?
I knew from the very first song I ever sang that my voice was different. That didn’t scare me at all. It was a full-on pride moment. I’ve listened to enough music to know that being identifiable and unique is more important than being a technically sound singer. I feel like I have that very important, identifiable trait that stands out. I’m very proud to feel like I’m the only person who sounds like me.
What do you think Adam’s taught you that you might not have picked up sitting in someone else’s corner?
Adam has reassured me to keep being me. That is the most important thing for any artist to ever be told. In this line of work, you have to believe you are unique enough to stand out and savvy enough to have something to say. Adam has that uniqueness himself, and receiving his approval has meant the world to me.
What’s your favorite lyric from ‘Too Good to Be True?’ The one you’d slap on a bumper sticker or tweet to The Voice to remind them of what they’re missing? Drop it in our comments on Twitter, Instagram, or Facebook—bonus points if you can work in a pork pie hat emoji.
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