While their 2022 hit single “Silk Chiffon” might have put them on the map for many casual listeners, MUNA have been crafting their own brand of glittery, emotionally charged pop since 2013. Their latest record, Dancing On The Wall, is no different, but it’s elevated in every way. Packed with shimmering 80s-inspired synths and the catchiest hooks, it’s a record that begs to be spun on the dance floor. Scratch beneath the surface, though, and you’ll find MUNA’s signature mix of yearning, heartbreak and desire woven through every track.
Just weeks after the album release, I had the pleasure of sitting down with all three members- Katie Gavin, Josette Maskin and Naomi McPherson, still riding the high of the album. Relaxed, funny and quick to bounce off one another, the chemistry that’s made MUNA a beloved band is just as present off stage as it is on it.
Reflecting on the reception they’ve received so far, Gavin says, “The Internet is noticeably wonkier than the last time we put an album out…there’s kind of this uncanny valley situation where you don’t know who on the screen is a real person and who is not. But that being said, the interactions that we’ve really had about this album in real life and with our friends and at the shows that we’ve played so far has been really, really positive and tender…it feels like a lot of the OG MUNA fans are really championing this record, which I feel really proud of.”
While the album is clearly resonating with longtime listeners, its sound feels like a natural progression from their previous work. There’s a maturity and confidence running through these songs that makes them feel more assured, refined like MUNA’s strongest body of work to date.
Going into this record, MUNA had plans to make it a concept album. “In the end, we let go of that, but found our way back… You can interpret it in a few different ways, not necessarily a concept album, but it does follow a little bit of a story” explains Maskin. “We wanted it to feel like a record that was about our queer community in Los Angeles and felt like it was made in 2025.”
Capturing that distinctly 2025 feeling was something that they held onto throughout the process. They intentionally wanted it to reflect the feeling of the strange, dystopian world we are living in, without losing sight of making the best songs they could make- something they definitely succeeded with.
“We worked so hard on these songs, but I also feel like the level of toil and torment that sometimes goes into or has gone into some of our songs in the past, did not really exactly happen with this album.” McPherson muses.
Perhaps that came down to having such a clear vision going into the process, or maybe it’s simply the result of experience. At this point, MUNA know when to trust their instincts and let a record reveal itself rather than forcing it into shape.
“I do have to say that I slightly disagree in the sense that I think I toiled a lot in the early songwriting stages.” Gavin adds, clarifying, “I tried to fit a lot of songs into this world that ultimately were on the cutting room floor because they didn’t fit. I tried to bend certain songs. And and in the end, it just I we just had to honestly write a lot of songs until the right ones kind of made an album.”
MUNA have long been a strong presence in the Los Angeles queer music scene, and that community sits at the heart of Dancing On The Wall. The emotional pull of these songs, however, has the ability to reach far beyond that. No matter where you’re from or who you love, there’s something to connect with, which is a massive testament to their songwriting abilities.
“We feel that way about “West End Girls”,” McPherson laughs, “We’re not English, it’s not the 80s, but we’re still touched by it. That’s the power of music, and we’re happy to welcome people who do not share our identities into the fold of loving our music.”
This sentiment sums up MUNA perfectly. They’re incredibly passionate when it comes to creating music that fosters connection and belonging, leaving the door open for anyone who wants to come along for the ride.
With an upcoming tour announced, one can’t help but notice that Australia is missing from the itinerary. When I press them about this, their answer is vague, but promising- “I would look out. I would be feeling hopeful if I was you.”
Whether they’re writing about heartbreak, desire or the strange reality of existing in the current political landscape, MUNA continue to prove that pop music can be irresistibly fun and emotionally rich. Dancing On The Wall is the result of a band with a strong identity, comfortable enough to lean into joy without shying away from uncertainty.
Throughout our chat, it’s obvious that this confidence extends beyond the music. There’s an ease in the way that Gavin, Maskin and McPherson interact- chiming in to answer questions and bouncing off each other as if they exist as one. This is the kind of chemistry that comes from years of creating together, and its woven through every moment on this record, making it feel as personal as it does polished.
While Australian fans might have to wait a little longer before seeing these songs performed live, the band’s parting words suggest that our patience may pay off sooner rather than later. Until then. Dancing On The Wall is more than enough to keep us occupied.
Dancing on the Wall is out now. Listen to it HERE.
Photo supplied.
