Music
Fans Think A Conway The Machine Tweet Means A Break With Shady Records Is Coming
Getty Image Griselda fans have proven to be some of the most loyal and enthusiastic, even if it sometimes gets the best of them. …

Fans have always been protective of their favorite entertainers but thanks to social media, that tendency has been turned way up. Now, stans view their every chart disappointment as a conspiracy against their beloved artists and perceive slights in every digital promo campaign slip-up. Case in point, the fans of the Griselda Records collective are as enthusiastic as any but they’ve recently taken to expressing displeasure at the indie’s affiliation with the larger Shady Records, feeling like Shady has suppressed the deserved success of the Buffalo boys’ venture.
Now, a cryptic tweet from core member Conway the Machine has those fans speculating on a possible split after the fans apparently decided that Griselda has become disgruntled with the distribution deal they signed with Shady in 2017. “I’m not f*ckin wit none of them n****s no more,” Conway wrote, leaving off any defining characteristics for just whom he might be cutting off. However, that hasn’t stopped fans from chiming in with their assumptions regarding Shady Records.
I’m not fuckin wit none of them niggas no more
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— CONWAY (@WHOISCONWAY) November 11, 2020
People are gonna say he’s talking about Shady, hope not but if so what’re you gonna do
— Colin Hallock (@NerotheHuman) November 11, 2020
Better be talking about Shady Records Machine
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— Jacko (@brandannz) November 11, 2020
Shady records?
— zay (@zaysantana19) November 11, 2020
Industry rule #4080
"Record company people are shady" https://t.co/8UjufDAgEz— World Champ (@selema_writes) November 11, 2020
@ShadyRecords wtf is you guys doing…. why sign them if u ain’t going do nothing but ride they
https://t.co/XNbpd8PLvX
— Reb Wu (@RebelWu) November 11, 2020
For what it’s worth, the Shady deal hasn’t stopped Griselda from continuing to be one of the more productive indie labels out in 2020, releasing no less than six projects over the course of the year, including multiple Westside Gunn albums, Benny The Butcher’s album, Armani Caesar’s album, and yes, a pair of Conway The Machine projects, all of which have been well-received by critics and fans. Many of the projects were distributed by EMPIRE, meaning no Shady funds were put into the creation, marketing, or promotion of those projects and Griselda seems to retain much of their creative control on their Shady releases.
Of course, none of those facts will ever stop fans from clamoring for ever more material from their favorite artists and believing that those artists should only ever go No. 1 on all the charts (these fans especially, because they seem to share a consensus opinion that everything else sucks). Unfortunately, there’s only room for one act at the top and it’ll always be the more popular ones, rather than just the ones with the most vehement supporters. However, that doesn’t mean they aren’t successful; if anything, this shows fans need to find new ways to define success.
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Alwyn Morrison explores betrayal, judgment, and survival on new EP “Trial”
Life isn’t always a straight line, and Alwyn Morrison explores that in “Trial,” a four-track EP that goes beyond the familiar territory of love and heartbreak. The project blends pop, rock, and singer-songwriter influences, exploring themes of betrayal, false accusations, emotional pain, self-defense, and survival. Each track is inspired by courtrooms and is a step in a personal journey of understanding, acceptance, and ultimately freedom.
The first track, “Puzzle Piece,” is Morrison’s raw, heavy alternative rock sound, fitting the weight of betrayal and false accusations. The song has a sense of tension, putting you in the shoes of someone trying to understand a difficult situation. Followed by “Everybody Bleeds,” which follows that emotional path, creating a song about confusion, openness, and the struggles we all face, and it’s an emotional listen, with hard truths and personal experiences laid bare.
The project’s focus track, “Monster,” goes into more personal territory. It explores what happens when we are judged or condemned for the choices we make, and it carries a message that goes far beyond Morrison’s own experience. The central theme will strike a chord with anyone who has felt misunderstood, unfairly labeled, or defined by others’ opinions.
The EP closes with “Fireflies,” a track that shifts the mood, contrasting childhood innocence and memories with the realities of adult life. The sequence moves the story toward resilience, survival, and earned acceptance. Alwyn Morrison spins a musical tale of hard life experiences put to the test. The courtroom concept gives the four songs real purpose to move on without letting past experience dictate the future.
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“Ceasefire” is full of sad melodies and hints of atmospheric rock, making it a dark, cinematic listen. The song’s alt-rock pivot provides an emotionally charged foundation, and it’s about the internal battle, especially when your identity has been so tied to another person.
Fanny Alexandra’s ethereal vocal approach suits the song, lending real emotional weight to the exploration of self-loss and internal tension. “Ceasefire” is a reflective track, with atmospheric instrumentation and deeply personal songwriting that capture feelings that can linger long after a tough chapter closes.
It’s about finding yourself again, and its emotional arc moves from openness and dependence to the hard-earned discovery that personal freedom is more than just walking away. Fanny Alexandra’s love for dark, emotional alternative music inspired “Ceasefire.” Her art is about intimate storytelling, cinematic atmosphere, and making music that explores the quieter struggles people tend to keep inside. In this record, she turns the fallout from a toxic relationship into a meditative reflection on the long road to selfhood.
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