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.”
grammy.com
