Simone Green is a Chicago-based vocalist, songwriter, and cultural storyteller with a career spanning decades and defying easy genre labels. She notched a #1 independent radio hit with “We Could Be,” and her unmistakable voice has traveled far beyond the music scene—featured in award-winning campaigns for Walmart, Toyota, and the Illinois Lottery, and heard on Dance Dance Revolution as well as the TV series Ugly Betty.
A Little Rock, Arkansas native, Simone moved to Chicago in 1997 and soon co-founded the beloved band Soul Sanctuary. Their sold-out shows and devoted following helped cement her as a respected pillar of the city’s music community. Blending soul, R&B, and contemporary sounds, Simone’s work lands with emotional precision and cultural truth.
Now, as she releases her latest single, “Black Queen,” we sat down with Simone to talk about her journey, her artistry, and the projects she’s bringing to life next.
Simone, many thanks for taking the time to speak with Occhi Magazine. When you think back to Little Rock, what’s the first moment you remember realizing music wasn’t just something you loved—but something you needed?
The first time I realized music wasn’t optional for me was at my cousin’s church in Scott, AR. I was young, but I remember hearing my cousin Phyllis sing and feeling something shift in the room — not applause, but energy. Comfort. Release.
That’s when I understood music wasn’t just performance; it was service.
In Little Rock, music wasn’t about industry — it was about survival, joy, and testimony. I didn’t just love singing. I needed it as a way to process the world, and I think even then I knew it would always be how I translated my life.
Looking back, who were the people that shaped you —teachers, family, community voices, fellow musicians—and what’s a lesson they planted in you that’s revealed its full meaning years later?
My family and close friends shaped my foundation — excellence without ego. But later, my bandmates in Shade of Blue and mentors in Chicago sharpened my discipline. The lesson that revealed itself years later was simple: Consistency outlives talent.
As a young singer, you think range or riffs will carry you. As a grown woman in this industry, I now understand that professionalism, emotional intelligence, and preparation are what build longevity
When you arrived in Chicago in 1997, did the move force you to confront areas of your artistry and identity? What habits, beliefs, or versions of yourself did you have to change to grow into the artist you are now?
Absolutely. When I arrived in Chicago in 1997, I thought I was “ready.” Chicago lovingly showed me I was gifted — but untested.
I had to let go of perfectionism and the need to be liked. I had to develop thicker skin, business acumen, and confidence that wasn’t dependent on applause.
Chicago refined me. It taught me that identity isn’t what you declare — it’s what you withstand.
Soul Sanctuary became a beloved fixture with sold-out crowds. What did that era teach you about audience connection—what people say they want versus what they actually respond to in the room?
Soul Sanctuary taught me that people don’t respond to perfection — they respond to permission. Audiences say they want high notes and flawless production. But what they actually respond to is vulnerability. When I told the truth between songs — about love, about fear, about resilience — that’s when the room shifted. Connection happens in authenticity, not just execution.
You’ve had your voice placed everywhere from major brand campaigns (Walmart, Toyota, Illinois Lottery) to pop culture platforms like Ugly Betty and Dance Dance Revolution. What did those commercial and media experiences teach you about the value of your voice?
Working with brands like Walmart and Toyota, and having placements in Ugly Betty and Dance Dance Revolution, taught me that my voice has range beyond the stage.
It showed me that artistry and commerce don’t have to be in conflict. My voice could pay bills, build brand equity, and still carry integrity.
It also reinforced something powerful: your gift is an asset. Protect it.
What has been the most career-changing “yes” you have ever said—one opportunity that shifted your trajectory? What is the most important “no” you have ever said that protected your future?
The most career-changing “yes” was saying yes to moving to Chicago. That single decision expanded my network, my resilience, and my platform.
The most important “no” was walking away from opportunities that required me to dilute who I am, sonically or personally. Every “no” that protected my values preserved my longevity.
Short-term exposure is never worth long-term erosion.
It’s great when our guest artists share experiences or provide advice and encouragement to others. Can you recall a time when you chose honesty over strategy in this industry—when you spoke up, drew a boundary, or told the truth even though it might cost you? What did it cost, and what did it ultimately teach you?
There was a moment when aligning with certain industry players would have accelerated visibility, but the terms required silence where I felt conviction.
I chose honesty. It cost me an immediate opportunity.
But it taught me this: alignment is more important than access. And integrity compounds over time.
You’ve opened for artists with very different energies—DJ Jazzy Jeff, Ledisi, Dru Hill. What did you learn from watching them work up close that changed how you carry yourself on stage or backstage?
Watching DJ Jazzy Jeff taught me control — he commands energy without forcing it.
Ledisi showed me emotional commitment — she doesn’t perform songs, she inhabits them.
Dru Hill demonstrated showmanship and stamina — preparation meets charisma.
What I took from all of them is this: the audience should feel considered. From soundcheck to encore
Your stage debut as Madame Zinzanni suggests a theatrical, character-driven side. How has performance as storytelling shaped your vocal choices—especially when you’re trying to communicate cultural truth rather than just “sing well”?
Playing Madame Zinzanni unlocked something theatrical in me. I realized singing isn’t about showcasing ability — it’s about embodying narrative.
When I’m communicating cultural truth, I don’t ask, “How can I sing this beautifully?”
I ask, “How can I make this undeniable?”
Sometimes that means restraint. Sometimes that means grit. Technique serves truth — not the other way around.
Let’s talk “Black Queen.” What was the origin of this project—was it born from a personal experience, a cultural moment, a conversation, or something you couldn’t ignore anymore?
“Black Queen” was born from both personal reverence and cultural urgency. My writing partner on this song and the entire project is Jeff Dillard. We really wanted to celebrate the sovereignty of the Black woman.
It was written during a time when I was watching Black women carry communities, businesses, families, and still being asked to shrink. I couldn’t ignore it anymore.
It wasn’t reactionary. It was declarative. It’s a reminder. Wear your crown boldly. Walk in your power and never shrink for anyone.
Black Queen” reads like a statement and a standard. Who did you write it for first: yourself, Black women you know personally, or a broader audience that needs to be confronted? And what did you refuse to soften in the message?
We wrote it for myself first. Then, for the Black women I know personally — over 40, accomplished, resilient, and still evolving.
I refused to soften the language of honor. I refused to make it palatable. The crown is not a metaphor for ego — it’s a symbol of inheritance.
On the production side, what did you and the producers/arrangers (SFR and Arnell Newman) decide the track had to feel like? Was there a reference point—Stax, Memphis soul, contemporary R&B—that you used as a north star,
We knew it had to feel regal but grounded. Contemporary R&B with soul lineage — nods to old school grit and church-rooted harmonies, but sonically current. I was thinking about a Curtis Mayfield vibe that took me back to the Blaxploitation era.
What projects are you currently working on?
I’m currently working on new music that expands the world of “Black Queen,” leaning further into storytelling and grown-woman R&B. The LP, “Black Queen,” will be available on all major streaming platforms and vinyl mid-summer.
Where can our readers find out more about you?
You can find me on all major streaming platforms under Simone Green. Instagram, Facebook, and YouTube: @SimoneGreenLive. And my latest single, “Black Queen,” is available everywhere music is streamed.
Images provided, courtesy of Soulistic 360
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