photo: atlantic records · cc by-sa 4.0 ↗Born in 1978 in Jackson, Kentucky, Sturgill Simpson served in the Navy and worked railroad and government jobs before returning to music, fronting the band Sunday Valley and then self-releasing his solo debut High Top Mountain in 2013. His 2014 breakthrough Metamodern Sounds in Country Music fused honky-tonk twang with cosmic, psychedelic songwriting, and A Sailor's Guide to Earth (2016) won the Grammy for Best Country Album; he has since jumped between bluegrass, rock, and soundtrack work while producing Tyler Childers's Purgatory (2017) and Country Squire (2019).
Simpson has repeatedly named Merle Haggard among his biggest influences; the two grew close in Haggard's final years, co-writing "Hobo Cartoon" together, with Haggard texting him lyrics from the hospital captioned "from one railroad man to another" (both had worked railroad jobs).
listen forPlay Haggard's unhurried, road-worn 'Mama Tried,' then Simpson's own trucking song 'Long White Line' — both ride a plain, driving honky-tonk band under a conversational, quietly sung vocal.
Simpson has said he looked up to and listened to Willie Nelson more than anyone growing up, and has cited Nelson's concept album Red Headed Stranger as a direct influence on his own songwriting, saying he's 'only ever really been interested in concept albums.'
listen forCue up the loping, road-tested groove of Nelson's 'Whiskey River,' then Simpson's woozy, psychedelic-leaning 'It Ain't All Flowers' — both take a plain country foundation and push it somewhere stranger than a typical Nashville single.
Simpson has named Keith Whitley — the neotraditional balladeer who died in 1989 — among the artists who were huge influences on his music, drawing on Whitley's ability to wring maximum ache from a slow, understated country ballad.
listen forListen to the aching restraint of Whitley's 'When You Say Nothing at All,' then Simpson's own heartbreak ballad 'Sitting Here Without You' — both let a quiet, unhurried vocal carry the emotional weight rather than reaching for a big note.