Vetor Interviews: Getúlio Abelha

Getúlio Abelha does his own “AUTÓPSIA” in new record: Chosen as one of the best records of the year by APCA, “AUTÓPSIA" presents a more internal and dark side to Getúlio Abelha, but never letting go of his cultural roots

Text and interview by Pedro Paulo Furlan

Photography by Luan Martins

São Paulo, 3PM. Getúlio Abelha, 33, is one of those names that, when you start to explore contemporary brazilian music, is impossible to ignore. Born in northeast Brazil, Abelha built up a musical style that is fully his own - mixing up his cultural references, having grown up in Piauí, with parts of queer culture, like ballroom and underground electronic music.

When I sat down to interview Getúlio, São Paulo - city he's called home for the last three years - was going through heavy rain. Between thunder and the digital instability that comes with São Paulo's quick changing climate, we talked about his latest record “AUTÓPSIA”, his career so far and what motivates him to keep forró at the center of his art.

“When I brought this latin vibe [about 'Freak’], I imagined that I was bringing, with me, an ancestral version of forró to my music - so I could still be talking about forró. Always”.

Bringing “ancestral versions of forró”, specially in the opening track “Freak”, like lambada, cumbia, besides electronic music, and many brazilian rhythms, even brazilian funk, Abelha creates this innovative record, that was chosen as one of the best brazilian albums to be released in the first half of the year by APCA (Associação Paulista de Críticos de Arte).

In five completely new tracks “AUTÓPSIA” showcases a version of Getúlio that is far from being an archetype - “I felt like I didn't have to talk for the northeastern LGBTQ+ collective anymore, I had to, instead, deal with a darker more internal side of myself, all mine”.

Photography by Luan Martins

“No one ever told me: 'Be a huge forró rock star'”

Always an artist, since a kid, growing up “in this environment of bars, music, drinking and fighting”, Getúlio wanted to, at first, be an actor. Telling me that he started to study cinema and theater, the singer points out that, for him, the path towards success in acting looked more promising and possible than in music - “There was, minimally, a traced path to walk on”, he says.

“In my head, being an actor was something that was kinda possible, while, on the other hand, no one ever told me: ‘Be a huge forró rockstar’. I had to find that out for myself, there was no push”.

It was during acting college that Getúlio felt he couldn't go on without music. Acting in a play where he played multiple pop icons, the artist decided that that was what he was meant to do - singing, writing and performing. ”I started out singing as an actor, y'know? I wasn't creating, it was all performance. ‘Marmota’ is very theatrical because of that”, he says, about his debut record.

Released in 2021, “Marmota” was Getúlio Abelha's first project, deep diving into northeastern brazilian culture and into Fortaleza's sounds, which was where he lived. Choosing to create forró because of his popular reach, Getúlio wanted to contact people, not limit himself - “I knew that I would be able to say more, politically, through forró. If I made electronic music, or pop, I would've only stayed in the clubs”.

Photography by Luan Martins

“Besides that, forró was the music I grew up on. And not only forró, all it's forms and siblings, right? Everything that came with growing in the North or Northeast of Brazil”.

With his first record, Getúlio managed to conquer Brazil, "Voguebike”'s music video, one of his earliest singles, even got a Multishow nomination. And it was through all of that that the artist built up his persona as one of forró's main names in the queer community, besides a rising star for northeastern people - but “AUTÓPSIA” comes to show that Getúlio goes beyond even that.

“I think it's important to not make that the main thing again - I needed to show how subjective and diverse we are, even inside the northeastern or the queer communities”. 

“It tires me to only be known for one thing”

Photography by Luan Martins

“Now, I think I'm working more as a pop artist that keeps his forró roots”, Getúlio tells me when I ask about how “AUTÓPSIA” fits in his vision. In love with exploring and experimenting musically, Getúlio Abelha has a desire to always present himself as something different than before, bringing new references and sonic influences forward.

“I'm using this second record to tell people that they can never expect what I'm about to do next, it's way more about this total versatility”.

“It tires me to think about being known for only one thing”, he explains, saying that his move to São Paulo and the things he experienced between “Marmota” and his new record made it impossible for him to create in the same realm of sound. Using latin rhythms, forró and even beats of brazilian funk, Getúlio is still dramatic, but now it's all turned inwards.

Photography by Luan Martins

With a feature from the São Paulo funk trio Katy da Voz e as Abusadas, in the track “Engulo ou Cuspo”, “AUTÓPSIA" has, in its core, the anger and emotional flood that has to come out of the artist as soon as he steps onstage - something Katy da Voz shares with him.

“We have a very punk energy, not as a style, but, as bodily transgression. Just like her, when I get on stage, I wanna scream and shout, as loud as I can. My craziness doesn't fit inside anymore”.

“If you don't wanna be referenced, you don't wanna be underground”

Bringing visuals that are different from anything he's done before, creating a sharp and dark image, Getúlio Abelha unites his flair for the dramatics to a concept that envelops his audience, welcoming them into his own dimension. Creating his own universes, the artists has built a world of his own since the first record, being able to stay on top and solidify himself in the scene.

“The underground is always the future's foundation, it's building blocks, the underground defines where culture is going next. If you don't wanna be referenced, you don't wanna be underground”.

Photography by Luan Martins

Nowadays, Getúlio Abelha finds himself in this space between the underground and the mainstream, already having been nominated and winning big prizes, but also always performing in underground parties and events. Looking over the contemporary scene, and the impact that underground artists are making internationally, Abelha points out how important it is to embrace your position in the underground.

“I think it's way more important for us to respect ourselves and recognize ourselves as underground artists than to keep waiting for the mainstream media to recognize us”, he points out, our conversation coming to an end: “Or you accept that, or you adapt and go find your place in the mainstream, you know? And I say that lovingly”.