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Instead of doing her homework one day after school, the multihyphenate born Atia Boggs used her time for a different assignment. She had just bought Lauryn Hill’s The Miseducation of Lauryn Hill and recalls coming home, sitting down and writing all the lyrics on flash cards. “That’s when I realized how important a good song was and how substance matters,” says Boggs, now 37 and known as the songwriter–producer INK. “And that really inspired me in a whole new way… I learned how to create my own path.”

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She taught herself guitar and started street performing, walking “miles on miles” from downtown Atlanta to the residential Buckhead neighborhood “playing for pennies.” Without any music industry connections, INK sought a mentor online, searching for her favorite songwriters such as James Fauntleroy, with whom she became Facebook friends in the late 2000s. “He was a mentor for me in the very beginning,” she says. “That gave me the confidence to say, ‘I can do this.’ ” Her first big break came in 2019, after she had co-produced and co-written Chris Brown’s song “Don’t Check on Me,” which featured Justin Bieber — and Brown decided it should feature INK, too. “It gave me so much exposure and another boost of confidence to have a superstar say, ‘Hey, we’re going to introduce you to the world.’ That was one of the moments that led to the unstoppable train I’m on now.”

This year has proved to be INK’s biggest, and busiest, yet — but she teases 2025 will be even crazier, as she’s working on her own music and a documentary while continuing to collaborate with music’s upper echelon.

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Beyoncé, Cowboy Carter

“Beyoncé was definitely a catalyst for the freight train to keep going,” says INK, who started working with Bey before COVID-19 hit on Cowboy Carter tracks including “Ameriican Requiem” and “16 Carriages.” INK recalls how, in 2019, they met at Roc Nation’s Grammys week brunch: “We have an inside joke because I went up to her and said, ‘Hey, I just wanted to let you know, I’m going to be writing your next album.’ And she giggled and said, ‘What’s your name?’ We just hit it off.” Soon after, INK was working with producer Ricky Reed, who introduced her to Beyoncé’s A&R executives. “They said, ‘We would love to have you be on this journey with us from the start.’ And five years later, Cowboy Carter was delivered.”

INK was friends with Lopez’s A&R executive long before he had the gig. So when it was time to assemble a team for Lopez’s personal album This Is Me… Now, he told INK, “You’re the first person I thought of for this.” INK most loved how “there’s not a session that happens without [Lopez]… I remember one time, she was like, ‘Hey, pull up today, but I’m going to send you a different address.’ And it’s the movie set [for Atlas]. We’re recording parts from the album in her trailer, and she comes in covered in blood, wet, cuts, bruises all over her body. And then she’s on the mic recording the song that we just wrote in her trailer. I thought that was the coolest thing ever, and it just showed the work ethic.”

Latto, “Look What You Did”

INK has long worked with Latto’s producer, Go Grizzly, another Atlanta native, but she had yet to work with the “Big Energy” rapper herself until this year. As INK recalls, she and Grizzly were working in Paris when they “cooked up the beat” that became “Look What You Did,” off the rapper’s third full-length album, Sugar Honey Iced Tea. “We did a beat in the studio, and then he was like, ‘Yo, you already know we have to get Latto on this.’ She heard it, she loved it and snapped.” INK had previously worked with Mariah the Scientist, who featured on “Look What You Did,” earlier this year when she guested on 21 Savage’s American Dream album. “So the dots connected,” she says.

This story appears in the Oct. 5, 2024, issue of Billboard.