Fifths/Minors by Thirsty Curses (Interview 2026)

Edition Fifty-Four – Week Fifty-Four; Unit 2:

Written by: Mercedes Barreto

Introduction

Few bands manage to balance sharp wit, emotional honesty, and fearless musical experimentation as naturally as Thirsty Curses. Hailing from Raleigh, North Carolina, the band has spent the past several years carving out its own corner of the independent rock scene by blending punk rock urgency with Americana storytelling, garage rock attitude, power pop hooks, and classic rock sensibilities. Anchored by frontman and principal songwriter Wilson Getchell, Thirsty Curses has built a reputation for music that is equally heartfelt, humorous, and unapologetically original. Their latest album, Music Is a Scam, continues that tradition with twelve songs that travel effortlessly between gritty punk anthems, poignant ballads, and unexpected theatrical flourishes. Produced alongside acclaimed engineer and producer John Agnello, the record captures a band unafraid to challenge expectations while remaining grounded in compelling songwriting and authentic performances. Whether tackling existential questions, personal struggles, or life’s absurdities, Thirsty Curses approach every song with intelligence, passion, and an unmistakable sense of personality. We caught up with Wilson Getchell to discuss the evolution of the band, the making of Music Is a Scam, and why embracing musical freedom has become one of Thirsty Curses’ defining strengths.

Short Review

Music Is a Scam showcases everything that makes Thirsty Curses such a compelling modern rock band. Rather than settling into a single style, the album confidently moves between punk, alternative rock, Americana, garage rock, and power pop while maintaining a remarkably cohesive identity. Wilson Getchell’s songwriting shines throughout, combining clever observations, emotional vulnerability, and dark humor with memorable melodies that linger long after each track ends. The production gives every instrument room to breathe, allowing energetic punk numbers to coexist comfortably alongside reflective ballads and more adventurous arrangements featuring brass and additional instrumentation. What ultimately sets Music Is a Scam apart is its authenticity. Thirsty Curses never sound like they’re chasing trends—instead, they create music on their own terms, embracing both sincerity and irreverence with equal conviction. It’s an album that rewards repeat listens and further establishes the band as one of independent rock’s most distinctive voices.

Q&A

Thirsty Curses effortlessly blends punk, Americana, garage rock, power pop, and classic rock. How has your sound evolved since forming the band?

“Thirsty Curses has been active since 2017, so part of the evolution has just been the natural progression of life and music. Another factor is lineup turnover over the years. While that hasn’t always been ideal logistically, it has kept a fresh set of players rotating through the project. Across the first five albums, there were four drummers, three lead guitarists, and two bass players. I assume that rotating cast has contributed to the evolution in sound, even though I’ve remained the primary songwriter throughout. I have fairly eclectic tastes, so I tend to pull from a wide range of influences in my writing. I’ve never wanted to limit the band to one genre, so the catalog naturally moves across a lot of territory while still staying under a broad rock ’n’ roll umbrella. In recent years, I’ve also written more on piano than guitar, which has shifted how I think about arrangement and structure. I also went through a fairly deep Brian Wilson obsession around 2023–2025, which definitely left its mark. I think that shows up especially on “Memphis” and “Everywhere I Go.” The 2025 album Music is a Scam leaned more punk and heavier overall, with a few exceptions. The forthcoming Frank-N-Stein, by contrast, is a bit more laid back sonically. There are still heavier moments (e.g. “Starting to Remember How Much I Forgot,” “Dramatic Moments,” etc.), but the overall aesthetic leans more toward classic rock and power pop. In that sense, it sits closer to Thirsty Curses (2019) and To the Ends of the Earth (2022), whereas Music is a Scam connects more to the earlier, heavier material. In short, the evolution hasn’t been especially planned. I just write what I write, and the sound follows from that.”

Your lyrics often explore existential questions alongside everyday life. Where do you typically find inspiration for your storytelling?

“I have a background in history, philosophy, and literature, and I was raised in a household that valued the humanities, so those influences have always been present in my writing. But the immediate spark for a song is usually more direct in that it tends to come from something I’m processing in real time, either personally or culturally. For example, on the forthcoming record, “Everywhere I Go” reflects on a long history of failed relationships, while “Dramatic Moments” came out of a period of spiritual searching following my father’s passing. “Fifths/Minors” is more outward-facing and reflects a sense of cultural fragmentation and instability. It includes references to Sir Edward Grey’s famous World War I remark about “the lamps going out over Europe,” as well as the figure of Cassandra from Greek mythology, who was cursed to speak true prophecies that no one would believe. Songs like “Foot in the Door,” “Bombs Away,” and “Reading & Writing” from Music is a Scam also come from engaging with current events in a similar way.”

Looking back at your earlier albums, what do you think has changed the most about your approach to songwriting and recording?

“We’ve recorded most of our material ourselves, with a few exceptions. On Music is a Scam, for example, we tracked basic sessions with John Agnello at Fidelatorium Studio in Kernersville, NC, and then completed most overdubs at our home studio. I’ve also typically gone into professional studios for piano overdubs—both Frank-N-Stein and To the Ends of the Earth had piano recorded at Bias Studios in Northern Virginia. Over time, I’ve gotten better at engineering (or I’d at least like to think so) and at understanding how to capture the sound we’re after with the tools we have available. Releasing solo material in recent years has also helped sharpen that side of things. On the songwriting side, around To the Ends of the Earth I started aiming for more complexity in structure and arrangement. More recently, writing on piano has encouraged a more holistic approach to arrangement from the outset. I’ve also become more focused on vocal harmonies, so the writing process has become more layered and intentional.”

What can fans expect from your live shows that they might not experience simply by listening to the records?

“Our live shows are high-energy and tend to lean toward the more upbeat material. Compared to the records, there’s also a slightly lighter, more direct feel in terms of presentation. Lately, though, we’ve been playing a lot of material from the new record, which is admittedly more introspective. We generally build sets around what feels like the “core” of the catalog, and it’s somewhat of a tradition to close with “Exile” from All Shook Up. Songs like “Slice of Paradise,” “Nothing Really Matters,” “Dimlit Cathedral,” “Down & Out,” and “Ooh Rah Rah” tend to show up frequently as well.”

Where can we hear more, and why should we?

“You can find us wherever you stream music. We’re easy to find. We also have vinyl available through our website (thirstycurses.com), Bandcamp, and other outlets for people who prefer physical releases.

We additionallyt have a fairly extensive YouTube presence, including music videos and live/performance content. I’d point people toward “Jenny,” which is a puppet-driven Pulp Fiction/Bonnie & Clyde–style story, as well as videos like “Bruises on Your Shoulders,” “Smash/Hit,” “A Baptist & a Rabbi,” and “Nothing Really Matters,” many of which were directed by our former bass player Clayton Herring. As for why listen: I think we have a fairly singular sound and approach, with a large catalog of music that doesn’t really sit neatly in one lane. The goal has always been to make music that feels human (direct, a little rough around the edges, and emotionally honest) while still being fun to listen to.”

Anything to add here?

“Our new album Frank-N-Stein comes out Thursday, July 9th. It’s probably the record I’m most proud of, and it came together across a pretty wide stretch of time and life circumstances. I’m excited, and a little curious, to see how people take it in once it’s out in full.

Either way, I really appreciate anyone taking the time to listen. We’ve been doing this independently for a while, and that connection with listeners is still the whole point.”