MUNA begin a new era with political pop album Dancing on the Wall

The Los Angeles pop band MUNA are stepping into a new chapter, using their synth-pop hooks to tackle politics head-on with their upcoming album Dancing on the Wall.

By the AD HOC NEWS Music Desk » Rock and Pop coverage — The AD HOC NEWS Music Desk, with AI-assisted research support, reports daily on albums, tours, charts, and scene developments across the United States and internationally.
Published: May 19, 2026 · Last reviewed: May 19, 2026

MUNA turn toward overt politics on Dancing on the Wall

In mid May, public radio outlet KOSU highlighted how MUNA are foregrounding political themes on their upcoming album Dancing on the Wall, framing the move as, in their words paraphrased, a no-brainer given the current climate. The piece underlined that the trio are leaning into questions of power, protest, and everyday survival while keeping their songs firmly rooted in pop structures and cathartic choruses. As of May 19, 2026, the group have not confirmed a firm release date, but they have been openly discussing how this project will sit at the intersection of dance music and political storytelling.

KOSU described the record as a continuation of the band's interest in queer life, relationships, and community, now widened to include more explicit references to organizing, policy, and the stakes of participating in public life. While full track lists and final sequencing have yet to be detailed by the band's label Saddest Factory Records, the trio have suggested that Dancing on the Wall will keep their knack for sing-along hooks intact even as the lyrics turn sharper.

According to coverage in outlets like NPR Music that have followed MUNA's rise over the last several years, the band have always treated the personal as political, writing about queer love, chosen family, and resilience. The new material, as summarized by KOSU, builds on that lineage by naming structural forces more directly, from threats to LGBTQ+ rights to economic instability affecting their fanbase.

In interviews cited by KOSU, the members of MUNA stress that the turn toward politics does not mean sacrificing pleasure. Instead, they imagine crowded rooms where fans are dancing and sweating together while also hearing lines about mutual aid, protest marches, and the emotional toll of living through overlapping crises. The goal, they suggest, is not a didactic protest album but a collage of feelings that mirror what many listeners are already experiencing.

Industry watchers in the United States will be paying close attention to how this shift lands on streaming platforms and radio. MUNA's previous self-titled album carved out a strong niche on alternative playlists and college radio; if Dancing on the Wall connects at scale, it could mark one of the more visible fusions of mainstream pop and explicitly political subject matter in the current cycle.

• Artist: MUNA, Los Angeles-based synth-pop trio
• New project: Dancing on the Wall, a politically engaged album discussed in recent KOSU coverage
• Label: Saddest Factory Records, distributed in partnership with Dead Oceans
• Key themes: Queer life, community, organizing, power, and protest filtered through pop
• Context: Follows the critically praised 2022 album MUNA

Who MUNA are and why the band matters right now

MUNA are a three-piece pop group formed by Katie Gavin, Naomi McPherson, and Josette Maskin, who met at the University of Southern California and began crafting sleek, emotionally dense synth-pop in the mid 2010s. Their work sits in conversation with artists like Lorde, Carly Rae Jepsen, and Haim while drawing from 1980s new wave, guitar-driven indie, and contemporary electronic production.

The trio's breakthrough came with their 2017 debut album About U, released on RCA Records, which introduced their talent for blending shimmering hooks with lyrics that dissect toxic relationships and queer heartbreak. Songs like I Know a Place became anthems in LGBTQ+ spaces, with the track often cited by outlets such as Rolling Stone for its promise of safety and solidarity. That early success built a dedicated fan community that followed MUNA through subsequent label changes and stylistic evolution.

After their 2019 follow-up Saves the World, which deepened their thematic range and sonic ambition, MUNA parted ways with RCA and eventually signed to Phoebe Bridgers' imprint Saddest Factory Records. Their 2022 self-titled album MUNA, released through Saddest Factory in partnership with Dead Oceans, earned widespread praise from critics including Pitchfork and The Guardian for balancing bright, hook-heavy singles with more introspective album cuts.

The single Silk Chiffon, featuring Phoebe Bridgers, emerged as a breakout hit, landing on numerous year-end lists and racking up significant streaming numbers on Spotify and Apple Music. While not a blockbuster chart entry on the Billboard Hot 100, it solidified MUNA's status as one of the most beloved indie pop acts of the 2020s and expanded their live draw across North America and Europe.

This context matters for Dancing on the Wall because MUNA enter their next era with a clearly defined artistic identity and an audience that has grown up alongside them. Their decision to lean into politics arrives not as a marketing pivot but as a natural extension of a catalog already concerned with how marginalized communities survive, love, and find joy.

For American listeners navigating an intense election cycle and ongoing debates over queer rights, reproductive freedom, and economic precarity, a danceable but politically conscious MUNA album has the potential to provide both catharsis and reflection. In this sense, the band matter not only for their craft but for their ability to translate complex feelings into songs that feel communal.

MUNA's origin story and rise from college band to festival favorite

MUNA's origin story begins at the University of Southern California, where the three members met while studying and started collaborating on music. Early on, they were drawn to the possibilities of laptop production and the emotional textures of 1980s pop, exploring how synths and guitar tones could serve storytelling about queer relationships. Local shows around Los Angeles, along with early EP releases, attracted attention from tastemaking blogs and A&R scouts.

According to profiles in outlets like Billboard and Spin, the band's early demos impressed RCA Records, leading to a major-label signing and the release of their EP Loudspeaker in 2016. The title track showcased their knack for mixing big choruses with lyrics about reclaiming power after abuse, hinting at the political undercurrents that would continue to run through their work. The EP's success set up anticipation for their first full-length.

About U arrived in 2017, positioning MUNA as a band willing to foreground queer desire and trauma in ways that felt frank and vulnerable. Reviewers in publications such as Rolling Stone and The New York Times noted how the trio crafted narratives that mirrored the emotional arcs of many young queer listeners while still keeping the songs accessible to broader pop audiences. The album did not dominate the Billboard 200 but developed the kind of word-of-mouth following that can sustain long touring runs and festival bookings.

Their 2019 album Saves the World found MUNA experimenting with more layered arrangements and exploring themes of self-forgiveness, sobriety, and existential dread. Critics at outlets including Pitchfork and NME praised the record for its songwriting depth, even if some noted that it flew under the mainstream radar. The album further cemented the trio's reputation as artists who treat pop as a space for rigorous emotional and political inquiry.

After parting with RCA, MUNA experienced a period of uncertainty that many bands face when navigating the major-label system. Their eventual signing with Saddest Factory Records represented not just a new contract but a recommitment to creative independence. Supported by Phoebe Bridgers and the broader indie infrastructure around Dead Oceans, they entered the sessions for MUNA with a renewed sense of purpose.

The self-titled album arrived in 2022 to some of the strongest reviews of their career, with outlets like Variety and The Washington Post highlighting their evolution into confident, arena-ready pop songwriters. Tracks such as Anything But Me and What I Want further expanded their thematic range, touching on autonomy, pleasure, and queer desire with humor and bite. Their touring footprint grew accordingly, with appearances at major festivals including Coachella in Indio, California, and Lollapalooza in Chicago, where they delivered tightly constructed sets that emphasized both musicianship and crowd connection.

Onstage, MUNA developed a reputation for banter that balances political awareness with levity. They might joke about tour mishaps between songs, then pivot into a brief acknowledgement of anti-trans legislation or other pressing issues before launching into a cathartic chorus. This interplay between joy and seriousness foreshadows what Dancing on the Wall aims to capture in recorded form.

Signature sound, collaborators, and key songs in the MUNA catalog

MUNA's signature sound blends glossy synth textures, clean guitar lines, and tightly constructed pop structures. Katie Gavin's lead vocals sit at the center, shifting between hushed intimacy and full-throated belts, while Naomi McPherson and Josette Maskin weave guitars, keys, and production choices that reference both 1980s pop and contemporary electronic music.

The band often self-produces or co-produces their work, maintaining strong control over their sonic identity. On About U and Saves the World, they collaborated with producers and mixers who helped sharpen their sound without blunting its emotional impact. By the time of MUNA, their control over arrangements and studio decisions became even more pronounced, resulting in tracks that feel both meticulously crafted and emotionally immediate.

Key songs in the MUNA catalog include:

I Know a Place: An early anthem about holding space for queer community and safety, the song became a frequent closer at live shows and drew attention from outlets such as NPR Music for its rallying energy.

Number One Fan: From Saves the World, this track plays with the idea of self-love as a performance, pairing ironic lyrics with a chorus that ultimately lands as sincere. Critics at publications like Stereogum highlighted it as one of the year's standout pop songs.

Silk Chiffon (featuring Phoebe Bridgers): This single from MUNA is perhaps their most widely known song, a euphoric guitar-pop track that celebrates queer love. Its sunny tone marked a deliberate contrast to some of their darker material, demonstrating the band's range.

What I Want: Also from MUNA, this song dives into the thrill of queer nightlife and desire, with production that nods to dance-pop while maintaining the group's lyrical specificity.

Anything But Me: A breakup song that still feels like a party, this track reinforces MUNA's ability to find liberation on the dancefloor, even in the midst of emotional upheaval.

Collaboratively, the band's work with Phoebe Bridgers has drawn significant attention, not only because of her visibility in the indie landscape but because the partnership represents a shared commitment to songcraft and narrative detail. Saddest Factory Records, Bridgers' imprint under the Secretly Group umbrella, has provided a supportive infrastructure that allows MUNA to make the kinds of creative choices that align with their politics and aesthetics.

Looking ahead to Dancing on the Wall, early descriptions suggest that the album will keep the trio's ear for melody and rhythm intact while introducing more references to organizing, protest, and systemic injustice. The title itself hints at images of movement, perhaps conjuring dancers pressed against a wall of police shields or everyday people trying to carve out joy against immovable political structures. While the band have not unveiled a full track list, fans can likely expect a mix of uptempo tracks, midtempo reflections, and a few ballads.

On the production side, it would align with their past work for MUNA to continue co-producing their material, ensuring that the beats and textures reflect the tension between pleasure and pressure that defines their thematic focus. The balance between analog and digital sounds, as heard across their catalog, allows them to move seamlessly between intimate verses and explosive choruses, a dynamic well-suited to songs about navigating fraught times.

Cultural impact, critical reception, and MUNA's place in today's pop landscape

MUNA's cultural impact extends beyond streaming numbers or chart peaks. For many listeners, especially queer and trans fans, the band offers representation that feels nuanced and grounded. They write about messy relationships, mental-health struggles, and political disillusionment without reducing those experiences to simple slogans. That complexity has led critics in outlets like Pitchfork, Rolling Stone, and The Guardian to position them as one of the most important bands in contemporary pop, even if their commercial profile remains more cult than ubiquitous.

While MUNA have yet to secure major awards like Grammys, their albums frequently appear on year-end lists. About U, Saves the World, and MUNA have all been singled out for their lyrical sophistication and sonic consistency. The trio have become staples of the festival circuit, performing at Coachella, Lollapalooza, and other prominent events where their sets often draw fans who know every word and newcomers who find themselves pulled into the energy.

Their relationship to the broader pop industry is particularly interesting in a U.S. context where queer artists have gained visibility but still navigate structural challenges. MUNA occupy a space that overlaps with mainstream pop sonically but often sits just outside of traditional radio formats. According to Billboard's coverage, their singles have appeared on alternative and adult-alternative charts more often than on the flagship Billboard Hot 100, reflecting how streaming playlists and fan communities can sustain careers even without massive radio impact.

Certifications from bodies like the RIAA have not yet been central to MUNA's story in the way they are for some pop acts, but the band's touring strength and steady growth suggest a long game. Their shows at venues ranging from mid-sized theaters to festival stages point to a fanbase willing to follow them wherever the music goes. In cities such as New York, Chicago, and Los Angeles, their concerts often sell out, with fans lining up hours in advance to secure spots near the front of the stage.

Culturally, MUNA contribute to an ongoing conversation about what political pop can look like in the 2020s. They follow in the tradition of artists like Robyn, who made dance music about emotional collapse, and bands like Paramore, who have increasingly folded sociopolitical concerns into guitar-driven pop. Yet MUNA's particular emphasis on queer experience and community organizing gives their work a specific focus that resonates in an era of renewed activism.

At the same time, they push back against the idea that political art must be solemn or stripped of pleasure. Their catalog suggests that dancing itself can be a political act when it creates spaces where marginalized people feel safe and seen. With Dancing on the Wall, they appear poised to deepen that argument, offering songs that reflect both exhaustion and defiance.

For U.S. audiences encountering MUNA through playlists, festival sets, or word of mouth, this combination of rigor and joy can feel like a lifeline. In a media environment saturated with quick takes and algorithmic recommendations, a band willing to write carefully about politics while still delivering undeniable hooks stands out.

Frequently asked questions about MUNA

Who are the members of MUNA and what roles do they play in the band?

MUNA are a trio consisting of Katie Gavin, Naomi McPherson, and Josette Maskin. Gavin typically serves as lead vocalist and a primary songwriter, while McPherson and Maskin contribute guitar, production, and additional songwriting. All three members are involved in shaping the band's sound and visual identity, maintaining a collaborative approach in the studio and onstage.

What are the most important albums in MUNA's discography so far?

The key albums in MUNA's catalog include their 2017 debut About U, the 2019 follow-up Saves the World, and their 2022 self-titled record MUNA. Each release shows a progression in songwriting and production, with About U establishing their queer pop voice, Saves the World expanding their thematic range, and MUNA refining their sound under Saddest Factory Records. The forthcoming Dancing on the Wall is poised to join this core set as their most overtly political work.

How is the new album Dancing on the Wall different from previous MUNA releases?

Early descriptions of Dancing on the Wall, including those summarized by KOSU, indicate that the album will address politics more directly than previous projects. While MUNA have always written about themes that intersect with politics, such as queer relationships and social stigma, the new record reportedly references organizing, power structures, and public life in more explicit ways. Musically, they are expected to retain their danceable synth-pop foundation, inviting listeners to move even as the lyrics confront difficult topics.

Have MUNA achieved major chart success or RIAA certifications yet?

MUNA's success so far has been more about critical acclaim and a dedicated fanbase than about dominating mainstream charts. Their albums have not topped the Billboard 200, and the band have not yet accumulated major RIAA certifications, but singles like Silk Chiffon have become streaming staples and fan favorites. Coverage from outlets like Billboard and Rolling Stone emphasizes their influence within indie and alternative pop communities, suggesting that their cultural impact exceeds their raw chart statistics.

What makes MUNA significant in the current U.S. pop and rock landscape?

MUNA stand out for their ability to merge sharp, hook-driven pop with nuanced explorations of queer identity, mental health, and now more explicit political issues. In an era when many artists feel pressure to either avoid politics or reduce it to slogans, the trio carve out space for songs that hold complexity and contradiction. Their work offers a soundtrack for audiences navigating turbulent times, making them a crucial voice in the ongoing evolution of U.S. pop and rock music.

MUNA on social media and streaming

MUNA's audience has grown alongside their presence on social platforms and streaming services, where fans trade live clips, lyric interpretations, and organizing resources inspired by the band's songs.

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