MUNA - Dancing On The Wall
Bright, bubbly synthpop with a political edge – what else is to be said? MUNA are back, baby!
After their self-titled release four years ago, MUNA are keeping their streak alive. Acting as a middle ground between the accessibility of mainstream pop and queer alternative culture, their approach to synth-driven pop feels more confident and politically aware than ever, without losing their instinct for replayability. Dancing On The Wall is a comeback worth waiting for, with its B-sides showing just as much promise as the singles teased, leaving very little reason not to be pleased.
Opening the LP is “It Gets So Hot”, where shades of Selena Gomez & benny blanco’s “Bluest Flame” draw close through its BRAT-esque club influences, setting the tone for an album that only grows stronger. The title track and lead single, “Dancing On The Wall”, follows as a remarkably quintessential MUNA song, intertwining flavourful synth work with a familiar lyrical narrative that blends together effortlessly. The highlights don’t stop there, as “Eastside Girls” revives an ‘80s hit technique that feels oddly underused in modern pop – catchy one-note phrasing, similar to Taylor Swift’s “Opalite”.
That said, Dancing On The Wall isn’t without its inconsistencies, though they aren’t as noticeable and do little to lessen its overall value. “Big Stick” takes a confident, humorous and well-executed dig at American politics, with lyrics such as “We give weapons to dictators and apartheid states / We give kids in Palestine PTSD / But we’ll never fucking ever give them something to eat” standing out for its clear political stance. With this in mind, the track’s musicality doesn’t quite match its cheeky songwriting, slightly paling in comparison to the majority of the record, though it may pull some strings over time. While on the topic of inconsistencies, the interludes feel largely pointless and unnecessary, serving as brief transitional moments that add up to 35 seconds of momentary adrenaline with little substance to latch onto.
The record still excites when MUNA lean into their strengths, producing some of their hardest-hitting tracks to date. Take “Mary Jane” — not to be confused with the RAYE song of the same name — where the bassline immediately recalls The Weeknd’s funky synthpop cut “Open Hearts”, while Katie Gavin’s vocal tone blends the rich lower register of Shania Twain with the smooth depth of Sugababes’ Mutya Buena. “Girl’s Girl” continues the album’s core aesthetic of bright, bubbly synthpop, also sharing its title with Zara Larsson’s track that carries a similar aesthetic. The third instance of a familiar title appears on “So What”, the album’s sophomore single, which stands out as an unexpected single choice. Its alternative-leaning sound builds into an almost Zedd-like synth explosion, showcasing an epic display of MUNA’s versatility.
In the end, Dancing On The Wall proves to be one of 2026’s most dedicated pop records yet. MUNA’s return is well worth its anticipation, with their constant ability to deliver standout moments being something many artists in today’s landscape struggle to match.
7.7/10
