Get Ready For Fool In Love Fest With This Soulful Playlist: Hits & B-Sides From Chaka Khan, Thee Sacred Souls, Smokey Robinson & More | GRAMMY.com (2024)

When organizers of the inaugural Fool In Love festival first announced the event's lineup this spring, soul and R&B heads across the internet went nuts.

The reaction was to be expected: There hadn't been such an ambitious mix of GRAMMY-winning legends and young, popular soul acts on a shared bill in recent memory. And certainly not in a single-day event.

The Aug. 31 event will highlight six decades of soul, R&B and funk — proof that those sounds are anything but oldies. The sounds of the 1960s through the '80s and beyond will be well represented by headliners Diana Ross and Lionel Richie, as well as Smokey Robinson and a recently reunited Nile Rodgers and Chic. Sets by Dionne Warwick, 2024 Special Merit Award honoree Gladys Knight, and sweet soul legend Brenton Wood promise to turn up the heat, sweet and memories.

A cadre of up-and-coming soul acts — many of whom call Southern California home — also appear high up on the lineup, highlighting a younger generation's decade-long revival of interest in soul sounds.

"I never want people to hear my records and wonder if it's new or not," GRAMMY nominee Mayer Hawthorne told GRAMMY.com in 2023. "I’ll never do classic '70s Philly soul better than the Delfonics. Plenty of artists do regurgitation of something old, but I’m all about putting my new spin on it."

In addition to Hawthorne, Fool In Love's lineup includes L.A.-based singer Trish Toledo, San Diego sweet soul phenoms Thee Sacred Souls, singer/drummer Aaron Frazer and singer Durand Jones, who will appear solo and together as Durand Jones and the Indications.

While some of the older acts may be missing original members (Kool and the Gang's George Brown, for example, passed in 2023; Henry Fambrough, the last original Spinner died in early 2024; Ruth Pointer is the only living Pointer Sister) or have feuding families, the legendary acts playing across Fool In Love's four stages are not to be missed.

Ahead of the Labor Day weekend show, cruise over to your favorite streaming service and enjoy this playlist of Fool In Love performers.

After releasing a debut album that went nine-times platinum, spawned a record-equaling 13-week chart-topper, and pioneered a new subgenre (remember hip-hop doo-wop?), Boyz II Men could have been forgiven for resting on their laurels for LP number two. Instead, they made a concerted attempt to go even bigger and better.

Indeed, celebrating its 30th anniversary on Aug. 30, the simplistically titled II was precision-tooled into becoming the ultimate R&B heavyweight of the '90s. "I personally came up with the name because I wanted people to know that this is a continuation of the first record, like a sequel to a movie or something like that," singer Shawn Stockman later revealed to Billboard in 2019.

Bandmate Nathan Morris was just as laser-focused on maintaining a stranglehold on the top of the charts, continually perusing sales figures across the world to work out how they could corner certain markets. Their seminal record label, Motown, meanwhile, even used market research to ensure that fans got what they wanted to hear, resulting in a collection of slick soulful ballads which utilized the vocal quartet's impressive harmonies like never before.

Such meticulousness paid off when II ended up surpassing its predecessor in sales, chart records, and general critical acclaim. And Wanya Morris believes it's more than worthy, recently telling Billboard, "If you want an example of what music is, we want the definition in an encyclopedia or on the internet or in any dictionary to be the II album."

In honor of II's 30th anniversary, here's a look at how the trio (and former memberMichael McCary, of course), lived up to all their blockbuster talk.

It Achieved Three Remarkable Chart Feats

Boyz II Men were such a chart juggernaut in the mid-'90s that they joined an exclusive club populated only by the Beatles! Indeed, the quartet became only the second ever act to replace themselves at the top of the Billboard Hot 100 when "On Bended Knee" dethroned "I'll Make Love To You" in September 1994. This was the first such instance since the Fab Four's "Can't Buy Me Love" toppled "She Loves You" 30 years previously (in the years since, 12 more acts including Taylor Swift and Drake have also achieved the feat).

This wasn't the only time the Philadelphians essentially became their own rivals, either. Their 14-week run atop the Hot 100 of "I'll Make Love To You" surpassed the 13-week stint enjoyed by "End of the Road" two years earlier. As a result, the group not only set the record for longest Hot 100 reign at the time, but they also became the first artist to achieve two consecutive No. 1s with double-figure spells.

It Made GRAMMY History

Boyz II Men looked like they'd soon run out of space in their trophy cabinet when they won the Best R&B Performance by a Duo or Group with Vocal GRAMMY for the third time in four years. The vocal troupe first picked up the coveted gong in 1992 for Cooleyhighharmony, and then 12 months later for its lead single "End of the Road." And while their winning streak was interrupted by Sade's "No Ordinary Love" in 1994, they soon reclaimed the trophy in 1995 thanks to "I'll Make Love To You."

The four-piece also made GRAMMY history that same ceremony when they became the inaugural victors of the Best R&B Album Category. II triumphed overAnita Baker's Rhythm of Love,Tevin Campbell's I'm Ready,Gladys Knight's Just for You,Me'Shell NdegéOcello's Plantation Lulllabies, andLuther Vandross' Songs. But despite a further eight GRAMMY nods, this remains their last victory.

It Boasts The Avengers Of '90s R&B Producers

Boyz II Men initially planned to give Tim Kelley and Bob Robinson — the Illinois duo who'd later helm Top 10 smashes for Jon B, Sisqo and Tamia — the creative reins for II. But concerned the relative unknowns might not have the experience, Motown insisted on bringing in the big guns, too.

Tim and Bob did contribute to five tracks, including fifth single "Vibin'" and the tribute to late manager Roderick Rountree, "Khalil (Interlude)." But it was the more recognizable names that provided the monster hits, whether Janet Jackson cohorts Jimmy Jam and Terry Lewis on "On Bended Knee," one-man hit factory Dallas Austin on "Thank You," or the four-time Producer Of The Year, Non-Classical GRAMMY winner Babyface on "I'll Make Love To You."

There was even room for mogulL.A. Reid ("I Sit Away"), Cooleyhighharmony contributors the Characters ("Jezzebel"), and croonerBrian McKnight (bonus track "Fallin'") to make their mark on a record whose credits read like a who's who of '90s R&B.

It Spawned A String Of Star-Studded Videos

It wasn't just behind the scenes where Boyz II Men assembled a wealth of talent. The group also bagged a whole host of stars from both the small and big screen to give their music videos that extra bit of pizazz.

In "I'll Make Love to You," White Men Can't Jump actor Duane Martin plays the security installation engineer who essentially becomes amorous pen pals with his latest customer. Saved by the Bell's Lark Voorhies, Living Single's Kim Fields, and daytime soap opera stalwarts Victoria Rowell and Renée Jones all break up and then make up with their respective Boyz in "On Bended Knee." And the supermodel holding the band inside a crystal ball in "Water Runs Dry"? Well, that's none other than Tyra Banks.

The latter promo, which Morris once told GRAMMY.com was a personal favorite, also picked up Best Cinematography and Best R&B Video nods at the MTV VMAs.

Read More: Boyz II Men Celebrate 25 Years Of Their Masterstroke Second Album, 'II'

It Was Also A Sales Behemoth

II instantly became Boyz II Men's second No. 1 on the Billboard 200, and by Christmas of 1994, the album was posting weekly sales of nearly 300,000 copies. Little wonder, therefore, that it became the third biggest seller of 1994 (behind The Lion King soundtrack and Ace of Base's The Sign). In fact, it even ended up in the Top 10 best-sellers of the following year, too.

By the end of its campaign, II had been awarded diamond status, making it one of the biggest selling R&B albums of all time. (Depending on how you categorizeMichael Jackson's Thriller and Bad andWhitney Houston's two eponymous LPs, it could even lay claim to being the biggest.) Its lead single, "I'll Make Love To You," also racked up impressive numbers, selling over 1.6 million copies during and after its lengthy residency at the top of the Hot 100.

It Spawned Two Spinoffs

Boyz II Men were so determined to conquer the world with II that they even re-recorded several tracks in a completely different language. Yes, in an effort to reel in the Latin market, the vocal quartet gave their Beatles cover, "On Bended Knee" ("Me Rindo Ante Ti"), "I'll Make Love to You" ("Yo Te Voy A Amar") and "Water Runs Dry" ("No Dejemos Que Muera El Amor") the Spanish treatment for a bilingual special edition released a year after the original. The latter track even made No. 1 on Billboard's Latin Top 10 airplay chart.

Keen to strike while the iron was hot, Motown also issued a compilation featuring remixes of tracks from their first two albums, including a version of "Vibin'" featuring Busta Rhymes and Method Man. The Remix Collection, however, reportedly didn't receive the blessing of the band themselves, and their relationship with the iconic label was never the same again.

It Paved The Way For The Modern Boy Band Ballad

While predecessor Cooleyhighharmony contained its fair share of air-grabbing, silky smooth, close harmony ballads (see "End of the Road"), it was II where Boyz II Men truly mastered the art. Alongside its first two singles, "50 Candles," "Fallin'" and "Trying Times" all crooned and swooned about love in a manner that had certain fans ready and willing to throw their undergarments on stage in appreciation.

And the new generation of boy bands who valued vocal ability as much as pin-up appeal were undoubtedly taking note. Listen to Backstreet Boys ("I'll Never Break Your Heart," "Show Me the Meaning of Being Lonely"), NSYNC ("Drive Myself Crazy," "This I Promise You"), and 98 Degrees ("(I Do) Cherish You," "My Everything") in full-on serenade mode, and it's clear that II set the template.

Luckily, the group responsible were happy to pass the mantle on. As Stockman toldABC News at the peak of TRL, "As far as we're concerned, this is their era and this is their time."

It's Stood The Test Of Time

The 2021 Netflix original series This Is Pop argued that Boyz II Men's impact on pop culture has been unfairly overlooked since their imperial phase came to an end. Yet, numerous artists — many of whom were still in diapers when they were regularly topping the charts — have borrowed from their sophom*ore set in recent years.

In 2018, for example, Drake sampled "Khalil (Interlude)" on Scorpion cut "March 14," while Swedish house maestro DJ Seinfeld's "With My Love" lifts vocal snatches from "Water Runs Dry." The latter has also been treated to full reinterpretations from singer/songwriter Jens Lekman in 2008 and cover version extraordinaire Kelly Clarkson in 2021. Meanwhile, Justin Bieber — who recruited the group for his festive 2011 album, Under the Mistletoe — put his spin on "I'll Make Love to You" during a 2015 gig at the W Hollywood Hotel.

And with its first two singles racking up 277 million and 163 million Spotify plays, respectively, II appears to be connecting, and reconnecting, in the streaming age, too.

Since its inception in 2019, Afro Nation has brought together the world's best and brightest entertainers in Afrobeats, amapiano, R&B, and hip-hop to perform on stages across the world. For the second year in a row, the festival takes over Bedrock's Douglass Site in Detroit — promising to continue its tradition of highlighting the best in Black music.

With its unique Detroit location, the festival bridges the gap between African music, global Black music, and the rich musical traditions that came out of Motown. In fact, the festival's site was once home to the first federally funded housing project for Black citizens in the city; Diana Ross and Smokey Robinson were among its residents.

Afro Nation Detroit offers as much history as it does global appeal, as its lineup is filled with buzzy rising stars and beloved veteran acts. Among those on the star-studded roster are Nigerian sensations Omah Lay, Rema and Asake, amapiano stars Kelvin Momo and TxC, and hitmakers Lil Wayne and PartyNextDoor.

Of course, it wouldn't be a Detroit event without native rapper Kash Doll, who performs on Saturday. And she won't be the only Detroiter performing over the weekend: genre-bending soul singer Charity and DJ Donavan Glover will also be repping their city amid sounds from around the globe.

That's just a taste of the exciting performances scheduled to showcase the diversity of Black music in one of its influential cities. Below, get to know eight acts who you won't want to miss at the second edition of Afro Nation Detroit.

Ayra Starr

Sat., Aug. 17 (Lit Stage)

At the age of 22, Ayra Starr is already making history. In February, The Beninese-Nigerian singer was the youngest nominee in the inaugural Best African Music Performance Category at the 2024 GRAMMYs; and in June, her debut album, The Year I Turned 21 helped her become the first female Nigerian artist to debut on the Billboard 200 album chart.

Just before her Afro Nation appearance, Starr added another first to her resume: she became the first Afrobeats singer to be part of Amazon Music's Breakthrough Artist program. The honor aligned with the release of her Amazon Music documentary, Dare to Dream, which chronicles her rise to global fame. There's no doubt that Ayra Starr will offer a showstopping performance that proves why she's such an acclaimed artist to watch.

Uncle Waffles

Sat., Aug. 17 (Piano People Stage)

Often regarded as the "princess of amapiano," Uncle Waffles is one of the genre's most forward-facing talents. In less than five years, the internationally recognized DJ/producer has been listed on TikTok's inaugural Visionary Voices Africa List, been nominated at the BET Awards and MOBO Awards; this year, she became the first amapiano artist to perform at Coachella.

Her talents have also earned Uncle Waffles co-sign from Beyoncé — whose Renaissance World Tour homage to Uncle Waffles' "Tanzania" nearly brought the star to tears — Drake, Ciara, and Missy Elliott. Needless to say, Uncle Waffles is an act that you won't want to miss at AfroNation Detroit.

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2woBunnies

Sat., Aug. 17 (Piano People Stage)

Think Daft Punk, but amapiano. Masked South African DJ duo 2woBunnies decided on the concept of anonymity as a way to create intrigue about their unique take on the genre, and let their music do the rest.

Though it has only been two years since their debut, they have done just that, from garnering more than 1 million likes on TikTok to performing sets everywhere from Dubai to Australia. Following first-time performances in major cities like Paris and Toronto, they'll make their Detroit debut next — and you don't want to miss the excitement they'll bring to Afro Nation.

Kizz Daniel

Sat., Aug. 17 (Lit Stage)

Since releasing his breakout single, "Woju," in 2015, Kizz Daniel has been a trailblazer in bringing Afrobeats to the world. And nearly 10 years in, he's continuing to deliver songs that resonate — including a hit remix of "Twe Twe" with fellow Nigerian star Davido.

Kizz Daniel's Afro Nation performance comes on the heels of another fiery remix, as he recently hopped on Nigerian artist Kaestyle's "My Dealer." He'll have plenty of new songs from his own catalog to bring to his set, too, including his latest single, "Double,” and EP TZA. Whether new or old, Kizz Daniel will be ready to give his crowd a lesson in Afrobeats.

Shenseea

Sun., Aug. 18 (Lit Stage)

In May, Shenseea released her sophom*ore studio album, Never Gets Late Here, which solidified the GRAMMY nominee as one of Jamaica's most promising rising stars. "Hit & Run", the album's single, was warmly received throughout the Caribbean, reaching No. 1 on several charts across Antigua and Barbuda, Turks and Caicos, Bermuda, Barbados, Trinidad and Tobago, and many other countries in the region.

Fittingly, Shenseea first brought Never Gets Late Here to life on stages across the Caribbean, where her onstage energy matched the hyped crowds. She stops by Afro Nation Detroit just after kicking off her Never Gets Late Here North American Tour in Chicago on Aug. 16, so she'll surely be ready to show festgoers why she's so beloved in her home country and beyond.

Amaarae

Sun., Aug. 18 (Lit Stage)

To say Amaarae is in demand would be an understatement. Sabrina Carpenter personally requested the Ghanaian American artist as an opening act for her forthcoming tour; Childish Gambino featured her on his new album, Bando Stone & the New World, and its accompanying tour; and she recently made history as the first Ghanaian artist to perform on NPR's Tiny Desk.

Her latest release, roses are red, tears are blue — A Fountain Baby Extended Play, are equal parts Afropop and alté, a fusion genre that originated in West Africa and combines hip-hop, R&B and Afrobeats. Her sweet, alluring nature signifies her place as one of the most exciting new talents to take over pop. Don't miss the opportunity to see a new global pop girl take center stage.

Scorpion Kings

Sun., Aug. 18 (Piano People Stage)

DJ Maphorisa and Kabza De Small — often referred to as the "godfathers" of amapiano — are the men behind Scorpion Kings. Already established in their own right and respected in South Africa's dance scene, the two have been inextricably linked to the global rise of the genre, and the celebration of South African and African music across the globe.

Last month, the pair performed alongside the who's who in amapiano — Kelvin Momo, Oskido, DJ Tunez, DJ Moma, Aquite, and the Descendants — in Central Park, making history as the first amapiano performance in the famed New York landmark. The duo is sure to keep the party going with their signature flair in Detroit.

DJ Moma

Sun., Aug. 18 (Piano People Stage)

There is a good chance that you know of DJ Moma. In addition to being one of the founding members of Everyday People, the Sudanese American DJ has been playing African music in venues throughout the country and world for over a decade.

His blend of African and Diasporic music, and incorporation of soca, amapiano, and dancehall are a celebration of everything that is global Black music. It is more than music to him, but a way to bring Diasporic musical traditions to the forefront, in an effort to connect and unify People of the African Diaspora across the globe. His mission will make for an Afro Nation Detroit moment that is as meaningful as it is joyful — a combination that's exactly what the fest is all about.

Woodstock '94 is no middle child music festival. While not as groundbreaking as Woodstock '69 or as infamous as Woodstock '99, Woodstock '94 boasts a unique legacy that deserves recognition.

Held Aug. 12-14 in the Hudson Valley town of Saugerties, New York, Woodstock '94 was set to commemorate the silver anniversary of the original Woodstock festival in 1969. Nodding to its origins in '69, Woodstock '94 was billed as "2 More Days of Peace and Music" (a third day of the festival was eventually added).

Woodstock '94 featured a wide range of acts that both reflected the nostalgia of Woodstock '69 and highlighted a myriad of new groups. Original Woodstock performers such as (minus Neil Young) and Santana topped the bill, and now-household names including Green Day and Red Hot Chili Peppers performed some of their earliest festival sets.

Even Bob Dylan, who initially declined an appearance at Woodstock '69 despite living near the festival at the time, had a change of heart and agreed to play at Woodstock '94.

It seemed that everyone wanted to capture a sliver of the magic from the original Woodstock. Although roughly 164,000 tickets were sold, the actual number of attendees exceeded 350,000 (surpassing even Coachella 2024's attendance rates).

Spirits were high as the festival opened on Friday with dry, sunny skies highlighting performances from Sheryl Crow, Collective Soul, and others. By the weekend, the weather took a turn and transformed the festival grounds at Winston Farm in Saugerties into a giant muddy puddle. Although Woodstock '69 was also rainy and mud-filled, the madness that ensued at Woodstock '94 led it to be dubbed "Mudstock."

As Primus performed "My Name Is Mud" on Saturday, festival-goers seized the opportunity to fling the wet dirt at the band on stage.

"Once I started singing the words to "My Name Is Mud," all of a sudden huge chunks of sod started flying my way and it was pretty frightening," Primus' lead singer told Billboard 20 years later. "I still have those [speaker] cabinets to this day, and those cabinets still have mud in them."

With high energy from Friday's acts and some mud-induced chaos, attendees were buzzing with anticipation and excitement for the rest of the weekend. The party atmosphere continued throughout day two — and not solely because Blind Melon lead vocalist Shannon Hoon strolled on stage tripping on acid, wearing his girlfriend's dress.

Aerosmith may have been day two headliners, but Nine Inch Nails' 15-song set remains a highlight of Woodstock '94. The band drew the biggest crowd of the festival, and were catapulted into wider mainstream visibility. Taking advantage of the unpredictable weather, then-bassist Danny Lohner pushed lead vocalist Trent Reznor into the mud, prompting Reznor to retaliate. The other members of the band soon joined in on the fun, strutting onto the stage covered in mud.

Opening with Pretty Hate Machine's "Terrible Lie," NIN turned the massive audience into a giant mosh pit and maintained that high energy until the end of the set. While the band faced technological difficulties onstage, it only seemed to enhance their raw, gritty image.

The set was so celebrated that it is forever memorialized in the Rock & Roll Hall of Fame, with art installations featuring a life-sized mannequin replica of Reznor singing into the microphone and his keyboard, both covered in mud.

By day three, Woodstock '94 was clearly becoming an iconic music festival that would be discussed for years to come. If Saturday's mud-slinging electric performances weren't enough, the final day of the festival featured performances from Green Day, Red Hot Chili Peppers, Bob Dylan, Santana, and others.

When Green Day — fresh off the success of their third studio album Dookie — took the stage, all hell broke loose. While the band was and continues to be known for their rowdy live sets, their performance at Woodstock '94 remains unmatched.

By the time Green Day started performing, the fairgrounds had turned into a full-blown mud fight. The band tried to push through the performance and embrace the chaos, but the set came to an abrupt stop when lead singer Billie Joe Armstrong told the crowd, "Everybody say shut the f— up and we’ll stop playing." When the crowd shouted the phrase back, Armstrong said goodbye on behalf of the band, and the rest of the group fled the stage.

By the end of the performance, lead singer Billie Joe Armstrong had lost his pants and the band had to be escorted out of the festival grounds by a helicopter. On their way off the stage, security confused mud-covered bassist Mike Dirnt for a crazed fan and tackled him, leaving him with five fewer teeth than he started the set with.

"He actually sheared my teeth, and I blew like five teeth. Only one of them died. I fixed the rest of them, but he all sheared up the back of my teeth," Dirnt confessed to The Aquarian in 2013. "It was horrible. But the great thing about it is that I was able to get out of there, and I'd do it again tomorrow if I had to."

Peter Gabriel closed out the weekend by remaining true to the original mission of the festival, offering fans peace filled with good vibes. Gabriel's music, though deeply contrasting with the hard rock and punk acts that dominated the festival, provided a flawless end to the chaos that had unfolded over the past three days.

While the 1994 installment of Woodstock hasn't basked in the same spotlight as its 1969 and 1999 siblings — the latter of which has been the subject of two documentaries in as many years — it remains far from forgotten.

Woodstock '94 stands as one of the legendary music festivals of all time. Although the rain may have soaked the grounds, turning it into a muddy catastrophe, it also nourished the roots of some of the most iconic musical acts and sent them into the mainstream media. The festival was more than just a series of performances, but rather a unique cultural event.

The first time Tink's name was on a lineup with Jhené Aiko, they were at Sacramento's R&B festival Sol Blume in 2022. Two years later, they're billed together again — this time, as tourmates.

Tink is one of four opening acts for Aiko's Magic Hour Tour, which also features Coi Leray, UMI and Kiana Ledé. As the 27-date trek begins winding down with its final stretch of shows (wrapping in Columbus, Ohio, on Aug. 22), Tink can't help but think about how "full-circle" the tour has felt.

"That was just a real manifestation," Tink tells GRAMMY.com, explaining that she's been "praying" for the opportunity since meeting Aiko at Sol Blume. "There's so many R&B girls that could have been in this position. The fact that she brought me on this tour speaks volumes."

Her slot on the sold-out tour signals Tink's growing appeal, and the all-female lineup is no coincidence for the singer. Tink's matter-of-fact storytelling and no-holds-barred approach is what made listeners gravitate toward her, especially women. Fans and critics alike praise Tink for her unwillingness to sugarcoat her emotions, particularly on her Thanks 4 Nothing album, and she continued it with her latest release, Winter's Diary 5, out now.

A long-awaited new installment of her Winter's Diary mixtape series, the project (which, this time, is a studio album) digs deep into her ongoing journey toward self-acceptance in the face of heartbreak and betrayal. From the fed-up lyrics of "Huh," to the sexually charged "Bless Me Don't Stress Me," to the deeply personal "Lows & Highs," Winter's Diary 5 sees Tink holding herself accountable for the failed relationships she sings so honestly about.

"The past few years have been a lot of isolation, and I've had days where I had to lock myself in my room and kind of recoup and get myself right," Tink says. "This album is definitely for those moments when you have nothing to do but face your own thoughts and your reality."

Tink's music has always mirrored her own life, but the Winter's Diary narratives involve more introspection, bringing another level of rawness and vulnerability — as she said in a teaser for WD5, "things only a diary knows." As a result, the Winter's Diary series has largely been the reason for Tink's cult following.

Tink was just 16 when she made her debut with 2012's Winter's Diary, releasing iterations 2, 3 and 4 in 2014, 2015 and 2016, respectively. In between, the Chicago native made a name for herself as a rapper in the drill scene with mixtapes Alter Ego, Blunts & Ballads and Boss Up in 2012 and 2013. Early singles like "Finger's Up" and "Bad Girl" showcased her grit, while her viral hit "Treat Me Like Somebody" revealed her angelic singing voice and vulnerability.

The string of acclaimed mixtapes earned a then 19-year-old Tink a deal with Timbaland's Mosley Music Group/Epic Records as well as a coveted spot in XXL's 2015 Freshman Class. That same year, her song "Million" (which samples Aaliyah's "One in a Million") whet fans' appetite for her debut album, Think Tink. The much-awaited project was slated for a July 2015 release before ultimately being shelved due to label issues.

By the end of 2017, Tink took matters into her own hands and reclaimed her narrative. She launched her own label — appropriately called Winter's Diary — in 2019 and hasn't looked back.

Working independently has brought her greater success, pointing to her resilience, work ethic and prowess as an artist who stops at nothing to get what she wants. It has also sparked quite the creative streak: in those five years, Tink has released five studio albums, one EP and a mixtape.

"I was just really trying to make up for lost time — I want to make sure that I'm keeping my name in the streets and that my fans are fed," Tink says. "As an independent artist, I don't have to adhere to anyone but myself, and that's what's making [the music] feel authentic. What I'm trusting works for me, so the songs I enjoy and feel proud of, I get to push those out. That's the difference."

Now 29, she brings a level of maturity and wisdom with Winter's Diary 5 that can only be learned through trial and error. But even after navigating toxic relationships in the Summer Walker-featuring "Songs About U" and acknowledging her battle scars on "Insane," she ends the album with "Pretty Girls," a powerful self-worth anthem that confidently reminds, "Pretty girls don't beg/ Pretty girls bounce back/ Pretty girls don't trip/ Pretty girls run game/ Pretty girls don't slip."

Whether or not she keeps adding to the Winter's Diary series, Tink is eager to continue growing her fan base and manifesting more big-name team-ups (she has her eye on Brent Faiyaz, SZA, and Drake next). Wherever her career goes from here, she'll always keep one thing on her mind: those who find the same solace in her music as she does.

"So many women and girls who listen to my music really need these lyrics… that's my reason and my purpose," Tink says. "I know my lane is for the girls going through it. I'm telling women's stories."