After writing for Beyoncé and Kendrick Lamar, Columbus’ Ink forges own path
Ink is keen on building a “sound you can trust.”
That was her thesis while busking throughout the streets of Atlanta in the early 2010s, with her cowboy hat and boots in tow. The Columbus-raised singer and songwriter would spend hours on the campus of Clark Atlanta University (where she studied mass communications and film), on the MARTA train, in Little Five Points, outside of Lenox Square Mall — and anywhere else — performing for anyone who was willing to listen.
The hard work paid off. She later moved to Los Angeles and penned songs for singers Monica and Tamar Braxton (one of her first songs was the latter’s 2015 track, “Catfish”).
Today, Ink (born Atia Boggs), splits her time between Nashville, Tennessee, and Miami. She’s had a stellar songwriting run over the past few years, with credits on Beyoncé’s Grammy-winning albums “Renaissance” and “Cowboy Carter” (penning “16 Carriages” and “Texas Hold ‘Em” on the latter). Ink also wrote last year’s Kendrick Lamar and SZA duet “Luther,” which spent 13 weeks as the No. 1 song in the country.
Now, she’s stepping into her own spotlight with her debut EP “Big Buskin.’” The project dropped Friday via Big Loud Records. Across 12 tracks, Ink weaves country, soul and blues to detail her journey filled with grit, love and patience.
The project peaks with the track “God’s Been Drinkin,’” where Ink wields her bluesy vocal prowess as she laments life’s disappointments. Then there’s “Blink of an Eye,” a folksy song that embodies the gratitude needed to endure those low moments.
“I don’t think I’ve ever been more excited to put together something and give it my all,” the 38-year-old told The Atlanta Journal-Constitution via Zoom.
The AJC talked to Ink about busking in Atlanta, writing for big stars and her debut project.
This Q&A has been edited and condensed for clarity
Q: Tell me what the title “Big Buskin’” means to you?
A: Taking that music to the streets, bringing that music to the people. When I came up in Atlanta, I was just walking up and down the streets every day. I put my passion out there, trying to survive, but also trying to make a window to a better way.
I would have that guitar, and I’ll be out here in the street singing a song. I think that’s just the spirit of big busking. It’s about not waiting for it to come to you, but going to it.
Q: Did you grow up singing?
A: As a kid, I just always wanted to be creative. I was always singing. I started out singing in a church choir. As a kid, like, I was leading the school raps and all of that. I was like, “You know what. I don’t want to have to wait on producers or wait on anybody. I want to be my own producer.” That way, I could just make music and not have to wait for people to send me tracks. That’s when I learned the guitar, and it just became a spiritual portal for me. After that, everything made sense.
Q: When did you start playing guitar? Are you self-taught?
A: Yeah, I am. I’ve been playing the guitar for 15 years.
Q: Your sound pulls from a variety of genres. What music did you grow up listening to?
A: My mom has very diverse music tastes, so we would listen to everything. My family, they’re a singing family too, so they just love a good time. They all sang in the choir. I definitely remember hearing some old gospel. Andraé Crouch, Aretha Franklin, Johnnie Taylor and a lot of that down south soul. Also some Earth, Wind & Fire. I came up on that feel-good music. It was just so relatable.
Q: When you were buskin’, would you perform your own songs?
A: I was out there freestyling every day, making up my own songs. That’s my thing. People would come up and be like, “Wow, I’m in tears right now. I’ve been sleeping in the car with my kids, and I’m just hearing your message right now, and it’s really helping me.” I feel like (music) is really important to humanity and to our community, and sometimes we take it for granted.
Q: You’ve said “Sweet Tea” is one of your favorites on the EP. That song reminds me of another song you wrote, Beyoncé’s “16 Carriages.” It chronicles a journey.
A: I love just bringing people into that world because it’s all about your story. The funny part is I didn’t really expect people to talk about “Sweet Tea.” They like, nah, this reminds me of my life. It’s funny that something so personal becomes personal to everybody.
Q: I like how each song on the EP shows a different side of you.
A: I have so many sounds. I like thinking of myself as the most versatile artist in the world. (On “Big Buskin’”) we’re just kind of giving a little glimpse into some of the sounds that I love.
Q: What was your approach to writing “Luther?”
A: I just wanted to do a classic justice and put a new spin on it because it’s just such a timeless record (“Luther” samples the 1980s track “If This World Were Mine” by Luther Vandross and Cheryl Lynn). Art like that, we won’t ever get art like that again. So (it was about) preserving it and then presenting it back to our generation who grew up on that, and the next generation who didn’t grow up on that.
Q: As you’re embarking on your solo career, what are you hoping to bring to the music industry?
A: I think I’m bringing authenticity back. I’m showing that I’m not just one-dimensional. I can do all sounds, all genres. I’m putting the paint where it ain’t, doing what they can’t, and I’m just on the soul patrol.
Heat Check is a monthly music column where AJC culture reporter DeAsia Paige explores the temperature of Georgia’s buzzing, expansive music scene — via the people and places within it. The column includes music news, trends and any Georgia-related music that DeAsia is listening to. If you’re a Georgia artist and have music you want to be considered for this column — or if you just want to talk music — feel free to send an email to deasia.paige@ajc.com. Below is a playlist for October
About the Author
DeAsia is a music and culture reporter for the Atlanta Journal-Constitution. She focuses on the intersection of arts, culture and diverse communities, as well as how emerging social trends are being expressed through the lens of the Atlanta aesthetic. DeAsia's work can be seen in Pitchfork, Essence, Teen Vogue, Elle and more.
