When The FADER caught up with MUNA backstage at Lollapalooza, the trio—Katie Gavin, Josette Maskin, and Naomi McPherson—were in high spirits, reflecting on their journey as they enter a new creative chapter. Their latest album, Dancing On The Wall, marks the band’s fourth studio release, serving as a more incisive, synth-heavy follow-up to their self-titled breakthrough. Described by the members as “emotional ass synth-pop” with “muscle,” the record captures a band that has fully embraced their identity and confidence.
The band’s evolution is palpable. While their previous work, including the hit “Silk Chiffon,” captured a specific moment in time, Dancing On The Wall represents a deliberate shift. “We were honing in on a specific sound that’s always been a part of MUNA’s DNA,” Gavin explains. “But especially now that we’re playing it live, I can really feel how much it is a dance-forward record, and it’s also a very heart-centered record.”
The world changed so much since we put out “Silk Chiffon.” —Jo Maskin
Beyond their own music, the trio expressed genuine excitement for rising artists, particularly ADÉLA. Having followed the group’s journey through Pop Star Academy, MUNA shared a deep respect for the hard work and resilience required in the modern industry. “I see them and I think, You guys are so fucking strong,” Maskin noted. “I could never do that.”
However, the conversation took a sharper turn when the topic of industry trends arose. The band was unequivocal in their disdain for the rise of generative AI in music. “We vehemently oppose generative AI and the effects that it has on people and their communities,” McPherson stated firmly. For MUNA, the focus remains on human connection, authentic collaboration, and the tangible energy of live performance—a philosophy that continues to define their trajectory as one of indie pop’s most vital acts.
Also, fuck AI music. —Naomi McPherson
