Conway Talks Upcoming Album ‘You Can’t Kill God With Bullets’: ‘I Gotta Hold Back Tears, This S—t Is Amazing’

My first introduction to Griselda was around 2015 when I came across Conway‘s mixtape Reject 2 on SoundCloud. I would see his name pop up on social media here and there, so I did the knowledge and dug around until I saw the album cover and it immediately grabbed my attention. The photo that was used was black and white showing the bullet holes on the back of his right side that gave him the Bell’s palsy that he still deals with on a daily basis.

“It took a while for me to even like come out the house, come out my room,” he told me when he stopped by the New York Billboard office. “I didn’t want nobody to see me. It was tough trying to accept how I look now. It was tough for me. It’s a battle I’m still at war with. I’m still fighting that.”

For me, his Reject 2 tape and Griselda’s Don’t Get Scared Now — released a year later in 2016 — put the crew from Buffalo, NY on the map. They built on the foundation that East Coast underground artists like Roc Marciano and Ka laid down in ushering in a more modern approach to that traditional “boom bap” sound during the mid ’00s. Fast forward about a decade later, and Conway is on his fifth solo album, and is heading up his own label.

You Can’t Kill God With Bullets was set to drop a couple months ago, but after some stops and starts, he’s finally ready to drop it on Dec. 12. He’s released two singles, with the most recent one being “Diamonds,” featuring the aforementioned Marciano. And he has some heavy hitters on the production side of things with names that include Justice League, Araab Muzik, The Alchemist, Timbaland, Apollo Brown, and of course, Griselda’s own Conductor Williams, and Daringer.

We sat down with the Buffalo MC to talk arguably his best album to date, not being afraid to experiment with new sounds, and the mental health battle he’s been dealing with since being shot in 2012.

You were in Europe on tour during the summer. How was that experience?

It was awesome. The energy in Europe is just next level, it’s different. It’s an indescribable feeling, man, The s—t is love, and fans are really tapped into the whole culture heavy and all that. I had an amazing time when I tour out in Europe. The is probably my third tour out there.

Why do you think they have such a deep appreciation for the type of rap you make out there?

I don’t know. I never really thought about that. I think it’s because they’re still at the essence of hip-hop and why and how it was created. It was created by young guys who had nothing, who came from nothing. All we got is hip-hop. That’s why they still hanging on to that, because some of them live in situations that’s probably not ideal to Americans. This all the access they got to, too.

Like, a lot of the fans that I meet, I ask them how they learn English, and it’s by listening to the music and watching the videos, so I think that’s what it is. They appreciate it more, because hip-hop is everything to them, whereas the state we in now, this era — respectfully — I feel like it’s just all a money grab. It’s all about a bag. It’s all about hype and being a mega-superstar. They don’t care about that s—t, man. It’s, “Are you nice? How does your music make me feel when I hear it? Can I relate to that s—t?”

Whenever I’m abroad somewhere, I always notice the graffiti and I think of the Biggie line from “Juicy” where he said, “You never thought that hip-hop would take it this far.” And the graffiti is usually good too.

That’s an element of hip-hop. They tapped in doing graffiti. I got murals in countries I never even heard of let alone visited. So, you know, seeing that I got a mural in Lithuania spray painted on a train is a different type of feeling, man. It’s kind of mind-blowing, but on the other side of it, I kind of expected this. I always used to tell West and them that all I needed was the right person to hear me. I was always the rapper growing up, so everybody was invested in me like, “Yo, all we need is the right person to hear bro and we outta here. Bro, power move away.”

So, to see that we actually did it? It’s definitely overwhelming. It’s ill as f—k, especially coming from Buffalo and all that. The s—t we’ve been through and had to go through along the way before we got on, losing Chine Gun and all that. It’s surreal.

What’s more important, having these murals and having this respect or a platinum album?

The love from the fans, the love from my peers that I look up to and respect. Rae, Ghost. I can name several, Royce da 5’9″, I was signed to Eminem, Hov. That means more to me. Like when I see Busta and he hugs me and tells me that I’m one of his favorite MCs of all time. I mean, the platinum means awful lot to me too. [Laughs.] That means more to my family. My son can get a lot more Robux if I get that platinum plaque.

You started your own label with Drumwork that you’ve been focusing on. How’s that experience been?

It’s been good. I’ve been getting a lot of lessons since I started this s—t in 2020, I just been learning a lot, you know? Some wins, some losses, some ups and downs, but you need that. It’s a blessing.

I’ve noticed on your last few albums that you’ve been trying to show off your versatility with the type of beats you’ve picked. Is that a fair assumption?

100 percent. I was always that type of versatile kind of MC that always had multiple different flows. It just kind of got hindered a little once I got shot in my face and half of my face got paralyzed, especially when it first happened. I used to play with a lot of double time flows. They used to call me the black Eminem in my hood. I would try flows and rap over different beats. I like to look for beats that people won’t try to select. I try to challenge myself and do something that may not be in my comfort zone or in my wheelhouse. It’s like trying to do a halfcourt trick shot. I might miss on some of them, but s—t, I’ll be Steph Curry if I hit these muf—kas.

So, that’s really what it is, it’s just important. I always been like that, because to me that’s what MCing is about. I don’t want to sound callous or nothing, but I tend to gravitate towards the MCs that flow a certain way, that’s versatile. Versatility is a big part of the criteria for me when I’m rating an MC. If you sound the same every f—king song it’s like… you know?

You want to name some names? Give me some examples?

Nah, I rather not. I love everybody. I’m a righteous man.

How about growing up? Who were some of your favorite MCs that fit that mold?

Eminem, Kool G Rap, Nas, Hov. I always liked Cube too, like, early Cube. I was big-time West Coast head during the early days, Spice 1, MC Eight, Cube like you said, Dre, Kurupt. Shout out my bro Gotti, his flow is nasty.

Reject 2 was the first Griselda project that I came across and I feel that was the tape that helped put you guys on the map. Would you agree?

100 percent. That’s why when I get asked what’s my favorite, or the album that means the most, I always go with Reject 2. It’s probably ain’t my best album, but it means the most to me because that’s the s—t that got me sitting here with you. I’m where I’m at right now because of it. I was able to do a lot for my family and it helped me become something more than what I was at the time.

How much better have you’ve gotten since Reject 2?

Miles, eons, billions of miles iller since Reject 2. See, the thing is, when I was recording them songs, I had just really started being able to move my jaw and rap and talk and s—t. That’s why it was a blessing to even meet Daringer, because he had that canvas for me to paint on. During that time, he was making slower records that kinda helped me still be able to rap — because like I said, I used to try so much different s—t, trap s—t, double time flows, radio hits, melodies, all that. Once I got shot, I couldn’t really do that s—t no more, and I was living over there with Daringer. He’d be playing s—t like “Air Holez”, “Blakk Tape,” and I was able to just really talk, you know? We weren’t worrying about no hook or none of that, I just wanted to get s—t off my chest. It was like exercise for me too.

I remember how jarring the cover was with you back turned and the bullet holes. That picture made me check it out, especially after I peeped folks talking about the tape on social media.

We shot that in Daringer’s hallway.

How did you and Daringer first link up?

When Westside first met Daringer, I was in jail. Then when I came home, West went to jail — but when he came home, he remembered this dude that he met at this hip-hop event that had sent him beats. And at this time, now I’m shot, so I’m recovering from being shot in the head. So West found Daringer, and they did the Hitler Wears Hermes 1. By the time part two came around, that’s when people heard me. I think I had one verse on there, and that was just me seeing if I could do it. I hated that song. I hated how I sounded. They talked me into that s—t, like, “Yo, nah, you sound ill. Trust me,” and that s—t took off, then Reject 2 came out. That’s the one that got me lit.

Yeah, I came across that and Don’t Get Scared Now on SoundCloud. Those were the two tapes that put me on.

At the time, that’s just how we were distributing and marketing our music. We were putting that s—t out on SoundCloud. We didn’t really understand the streaming s—t and we didn’t wanna f—k with it either. We wanted to keep our s—t boutique, like we only gonna put this s—t on SoundCloud for like a week. We would make merch like hoodies and s—t and there would only be like 187 made.

And putting your music on DSPs during that time wasn’t really going to do much.

We wasn’t really making a big impact with YouTube views or followers on Twitter and Instagram and s—t. What we what we did, I don’t think it can ever be done again. We ain’t have nothing. We from Buffalo. We had no label. We didn’t want to sign no deal. We didn’t put our s—t on DSPs. We didn’t have no management, no publishing, no nothing. And still our s—t reached the hands of Alchemist and Premier and Statik Selektah and so on and so forth. Working with Roc Marci, now I’m doing an EP with Prodigy, we touring. All from selling our s—t from the kitchen table.

There’s an interlude on the album with — RIP my guy Clark Kent — where he’s talking about begging you guys to stick with that sound. So, how do you juggle staying true to what got you here while also trying to show that you’re versatile?

That’s a good question. The only thing you can do is stay true to yourself and if you get some fans to understand and grow with you and see like, “Nah, he’s dabbling, he’s experimenting, he’s cooking.” I just focus on the music part of it — and like you said, stay true to me. I don’t feel like I deviate too much. Maybe I got more big name producers and s—t. I’m working with Swizz and Timbaland now.

You had the R&B joint with Lady London. And the one track that stood out to me. I’m forgetting the name of it. It’s a part two, but it sounds like some James Bond s—t.

“Parisan Nights” [Laughs.] That’s gonna be the look, when we shoot that.

Gotta be in the tuxedo like GoldenEye.

Shooting tacks out the muffler of the back of the BMW, you feel me? Little rifles coming out of the headlights.

I noticed that you had some bigger names on this project. How did you start sourcing beats from everybody?

They reached out to me. Timbaland hit me up. I met Tim backstage down in Miami when him and Swizz did the Verzuz. Then one day, probably a year or two later, Tim just reached out, like, “Yo, I got something for you.” So then, when I was doing this album, I asked him, “Yo, what up with that that s—t we did, man, let me get that?” And it made the album. Swizz, all them, Alchemist, Conductor, they reach out to me like, “Yo, I got some ideas. Let’s cook type s—t,” respectfully. I’m not saying this arrogantly.

I get what you’re saying.

Eric Sermon reached out to me too. Back to your question earlier, that’s the plaque. Eric Sermon hitting me up, saying that he has an idea for me, is worth more than a plaque. The OGs, man, the guys who paved the way and inspired all of us donning me as the guy? That’s my award.

Method Man champions you guys too. I saw a clip of him saying that you talk crazy. So, how long did it take for you to make this particular project?

I’ve been working on this for like a year. I had took a couple months and made “Se7enteen5ive.” That’s when I said, “Nah, I gotta keep going.” I ended up doing the partnership with Roc Nation, and that’s what inspired me to really get in my bag. I needed some fresh air, that all. Now I’m back at the office.

Did you record this in a certain spot? You mentioned that you recorded a bunch in Denver back in 2022 and you enjoyed the vibe out there.

I recorded two or three of the songs from this project in Denver. I recorded some songs in Ravenna, Italy, I recorded some in Rome and in Tbilisi, Georgia. I recorded something for Eric Sermon over there too.

Did his track make the album?

Nah, it was for something else. I’m not sure that he wanted that leaked [Laughs.] I’m gettin’ lit, though, f—k it, you know what I mean? Hype the big bro up.

What do you like about Denver?

Everything, man, Denver is just such a beautiful, beautiful city.

They got good weed out there too.

Eh, I wouldn’t go that far. It’s all right. That was one of the first spots that had legal weed. I remember smoking good when I went out there. That was years ago, though, and you probably smoke s—t that I’ve never heard of. You know, I got particular lungs. And I was thinking the same s—t like, “There’s about to be all types of gas down here.” Then I get there and they got me smokin’ middie. My man Kane from Cookies had me smoking gas out there. I just thought about it. Shout out Kane. Kane kept right.

I feel like after maybe three or four listens that this might be your best album. Did you feel like that while recording?

I’m happy to hear you say that. I definitely feel like that. I didn’t feel like it while I was recording it, but I felt like it when I’ve been listening to it now, and I gotta hold back tears. This s—t is amazing. I’m glad I went through all the stuff I went through that led up to this point to be able to create this album. I feel like it’s probably my best too. The songwriting, the beats, everything felt like it came together.

Another thing that I found interesting were the interludes where you have a clip of Jamil Al-Amin’s and Kwame Ture’s “Free Huey” speech. Can you explain why you decided to include some of those?

I was just in a place at that time where I was feeling revolutionary. I was on my 2Pac. The things that they were saying hit me in an impactful way. It felt like they were preaching to me. I felt like they were talking about me, saying what I want to say. They kinda really painted a lot of my pictures on the album. I was getting chills when I was hearing them.

It meant a lot to me, because I wear my emotions sometimes on my sleeve and I get in my head a lot. I get negative real easily, and I shut down, right? And I don’t go to the studio, I ain’t answering no phone, I’m somewhere isolated. That don’t really get me nowhere, that ain’t gonna free Huey. The only thing that’s gonna free Huey is gunpowder, and my gunpowder is being in that studio, in that booth, letting that clip go, you know what I mean? So, that s—t was profound like let me get off my ass and stop being emotional and lazy.

Have you always been like this or did it happen after you got shot?

After I got shot.

It f—ked your head up and your confidence, I imagine.

Yeah… yeah.

And you still deal with that, even with the success — like, that s—t don’t really matter.

I’m always nervous in interviews, performances, when I’m around a lot of people. Nerves, man, anxiety, I don’t know.

People don’t see that side of it, because you sound so confident on your records.

But that’s part of it, right? That’s the release, where I could be free and speak my mind and share my thoughts. I ain’t the best talker and all of that. I’m kind of even reserved.

You’ve mentioned that you don’t like the fame.

It sucks. I’m thankful and I’m blessed, because it ain’t for me. It’s for my generations after. It’s for after me. I’m able to leave something here for when I go, for people that I care about. That’s what it’s for. If it was up to me — my team would tell you — it’s hard to even get me to do stuff like this.

It’s interesting that you say that, because I’ve tried to interview you a bunch of times and it never happened. I’m surprised that you even here now. We had this scheduled a couple times too — and I know how it is, I deal with rappers all the time, it’s not that big a deal.

Nah, it’s never the schedule. Anxiety be whoopin’ my ass. Some days are better than others.

Now that you’re back in the States, what you got going on now?

Back on road, just running around, getting this album out here. You Can’t Kill God With Bullets. We about to put belt to culo. We got the tour coming up like at the end of October. And we’re doing something special to introduce Reject 3. This is the 10-year anniversary of Reject 2, so we’re doing something special for that. We got some shows that we’re gonna do. We got a show out here in New York City and we got one in Buffalo on some “One Night Only” s—t.

And that’s gonna be all Daringer too on Reject 3?

Mostly Daringer. I only got Derringer and Conductor on that b—h right now. I let them have fun for the summer, you know what I mean? Now Tio returns. That’s what I might name the tour, “Tio Returns.”

Unless you want to add something, I think we’re good.

I just want to add, You Can’t Kill God With Bullets is the forthcoming album by Buffalo, New York native Conway the Machine. Five-time Grammy nominated artist, philanthropist and music icon, and it has features from the likes of Roc Marciano, Corey Kendricks, Lady London, and more coming real, real soon. Make sure you tap in and support.