Forming back in 2013, MUNA consists of a dynamic trio: Katie Gavin, Naomi McPherson and Josette Maskin. The three have shot to a niche area of queer stardom over the years, famously opening for Boygenius at their Gunnersbury Park show a few summers ago after featuring Phoebe Bridgers herself on a track. Discography-wise, their music can be easily described as a warm mix of heartfelt honesty with upbeat dance-pop instrumentals. It’s a welcome combination for many that see themselves within the music, as the band are open about their lesbian identity and political status in a community. After a short break and Gavin’s own solo album, MUNA’s outlook feels needed in such turbulent times.
The size of that queue could tell you that, easily. Eager fans descended on Tower Hamlets in droves, me included. I found something deeply beautiful in the community of Brick Lane on the walk there. Those grey, rain-spattered streets still glowed with love from family restaurant signs and fabric emporiums, where I noticed an older woman nestled among years of textile piles. A tall sign welcomed me to “Banglatown” in shades of emerald and gold. Since the mid-20th century, the area has been home to both the UK’s largest Bangladeshi community and many Jewish immigrants. It’s a street with a strong history. Perfect for such a band to play from.
Around 7pm, our good-natured security guard finally opened the doors. I couldn’t be happier at this point, after a great deal of shivering and shuffling outside in that bitter February chill. Tights and Mary-Jane Docs proved to be a poor combination that night, with my toes turning to small blocks of ice inside the leather. There was a general buzz in the air at this point, as we all moved inside to have our tickets scanned and were handed a poster each signed by the band members. Rough Trade East itself, in all its shabby-chic hipster glory, was bathed in a pool of red light, most likely a nod to MUNA’s new branding. Everyone formed an anticipatory crowd before the stage and waited for the preview to start.
From the four songs we were treated to that night, the upcoming album seems to be a cry for defiance in an age of chaos. The first played, titled ‘It Gets So Hot’, was teased back in snippets of early promotion and appears to be an electric tune of Los Angeles heatwaves and lust. During the later Q&A, Naomi McPherson mentioned this was inspired partly by Gavin’s lack of air conditioning in her attic room apartment, and those sweltering vibes carry across easily into the pumping synths. In fact, techno beats can be heard within each track, turning the record shop into a makeshift club for a night. ‘Dancing On The Wall’, the titular single, earns a wave of recognition and joyful sing-along, clearly resonating well with the crowd. I’ll be gobsmacked if it doesn’t make the rounds at Pride parades when the weather warms up. Both ‘So What’ and ‘Eastside Girls’ grab eagerly listening ears too, particularly at the static breakdown towards the end of the former. The latter song was revealed to be a loving yet gently mocking portrayal of LA as a city, in all its sunny interactions. There’s an identifiable 80s dance-pop influence swimming around in there, with bass heavy enough to fill the chest. I must admit I felt a little miffed that we were only getting a tease of the whole record when it finished- the atmosphere was that appealing.
As the music hung in the air, MUNA themselves walked out on stage to rip-roaring applause and sat down to give us all the details. Dark colour palettes seem to be en vogue for the three at present, as their outfits took a signature individual spin on the theme of black. Interestingly, the evening’s chat was a compelling mix of dry humour and creative processes, carried well by the band’s background in podcasting. This upcoming album is said by all to be a welcome return after a much-needed break away from the writing process, and a more upbeat affair for Katie Gavin after her solo acoustic record. It’s refreshing to hear that the band were given the grace to step away from the studio after countless stories of companies burning their musicians out to dust these days. Their joy in creating again can be felt from this, along with the newly distributed creative roles. Josette Maskin described how MUNA “no longer have to wear all the hats” in putting an album together and are able to manage the balance easier. They are less influenced by capitalist control at this point in their careers, free to throw in a beautiful mix of 90s lesbian zines and vintage club flyers to the graphic design pool.
Ultimately, ‘Dancing on The Wall’ looks to be a wonderfully danceable album, but not without a signature political bite. MUNA know the outspoken status they have built for themselves as a band and feels a necessity to give a voice to the noise, rather than be perfect role models in activism. The evening was an insightful look into the determination needed to push through all blocks and record music, even when some songs feel “Frankensteined together”. May can’t come soon enough!
Sofia Neal
Image: Dean Bradshaw
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