Known for her roughneck operatic voice which packs a lungful of dusty soul and straight-shooting lyrics, her music feels equally at home either hitchhiking across the windswept Texas Panhandle or boot-stomping in a greaser’s roadhouse in Detroit. She has shared the stage with Wanda Jackson, Chuck Berry, Rev. Horton Heat, Legendary Shack Shakers, Unknown Hinson, Carolyn Wonderland and more. Her new record was tracked live at Loud House Studios in South City through a soundboard that Ike and Tina used in the 1970’s, co-produced with Zagk Gibbons of CaveofSwords and Old Capital Square Dance Club, and was mastered by Magic Garden engineer Brian Lucey of L.A., most known for his work on The Black Keys’ Brothers and El Camino. The album’s 10 all-original tracks act as a heartfelt road trip through the rustic struggles of a working class prodigal. The familiar sights pass by: love, loss, drinking, dying. But Molly navigates this age-old, blues/country singer terrain with a rock-n’-roll beat, revealing both a hard-worn grace and a lonely courage beyond her years. In the studio for One Way Ticket was Al Holliday on clav/organ/piano, Zach Anderson on lead guitar for several tracks, Zagk Gibbons on drums, Jamey Almond on bass/upright bass and Molly Simms on vocals and lead/rhythm guitar. "Molly Simms’ voice is too big to be contained by one mere band or project. The singer, songwriter and guitarist came to local prominence as the leader of the Bible Belt Sinners, and that band’s 2014 EP, Sunday Best, paired Simms’ strident delivery with the tried-and-true strains of punk and rockabilly. The songs were fun flashes of attitude and twangy discord, but Simms’ solo work — first heard on 2013’s Revenants and the just-released One Way Ticket — offer her a wider stylistic and emotional range... “I’m so good at breaking hearts,” Simms sings on the title track. It’s not a boast, exactly, but in song after song, Simms shows how ready she is to say goodbye — to old lovers, to her old life, and to whole cities that left her dry. “Fodder for the Songs” twists and spins with a new-wave energy as Simms spits fire at an ex; the next song, “Drive That Nail,” emits a tenderness both in instrumentation and delivery, as Holliday’s plinking electric piano lays a soft foundation for Simms’ slightly dolorous vocals." -River Front Times, 2015