One Night in Heaven with MUNA, Live in London - Review

Kicking off their three-night residency at the legendary queer nightclub, Heaven in London, MUNA demonstrated why their fanbase keeps growing with every album cycle.

From the moment the trio stepped on stage, the atmosphere was electric. Every lyric was met with enthusiastic sing-alongs, turning the crowd into an unofficial backing choir that often rivalled the volume of the band, representing how much of a collective experience concerts truly are. 'It Gets So Hot' immediately set the tone for the evening that was to follow.

The track felt particularly fitting given both the packed venue and London’s ongoing heatwave. Across the room, nobody stood still. Katie Gavin’s striking arm choreography, created alongside vogue performer Nastya Wilson, added another layer of movement and meaning to the performance, as the incorporation of voguing felt like paying homage to a vital pillar of queer subcultures and expression.

The band's political convictions took front and centre stage throughout the evening. Before performing 'Big Stick', Naomi McPherson took a brief moment to state, “Free Palestine.” The important and powerful declaration reflects MUNA’s long-standing commitment to using their platform for advocacy. The band later expressed gratitude towards their fanbase for embracing that side of their artistry. As Josette Maskin noted during the group's London album playback and Q&A earlier this year, “Music is inherently political based on who's making it.”

Their chemistry as a band is tangible, and the confidence they present on stage is undeniable, as it is clear the members are now fully sure of who they are as people and as musicians. Their confidence on stage feels earned rather than performative. There's a clear sense that Gavin, McPherson and Maskin are fully comfortable in themselves, both as musicians and as people, and that self-assurance radiates throughout the set. There's proof of concept in their sound; you can clearly hear that the band knows what it wants to deliver and how to make audiences connect with their messaging.

Before the concert started, we asked fans what their favourite song from 'Dancing on the Wall' was, and even though there was no clear winner, the consensus was that the entire album is a favourite.

One of the evening's highlights came with 'Why Do I Get A Good Feeling', whose punchy hooks and effervescent energy evoke the maximalist pop-rock of Untouched by The Veronicas and the sonic motifs of Imogen Heap's catalogue. Gavin's fiddle playing added an unexpected flourish, showcasing yet another dimension of the band's musicianship.

London's love for new music often sticks with artists, and the band were quick to acknowledge that, noting how a lot of their very early and loyal fans came from the British capital. Because of this, picking Heaven for these intimate shows felt particularly meaningful, it being first the time back to the venue since 2017.

That connection between artist and audience was perhaps most felt during 'Buzzkiller'. One of the most vulnerable songs on 'Dancing on the Wall' captures feelings of insecurity and self-doubt with remarkable honesty. As fans raised signs reading “You're so easy to love”, “We love you,” and other affirmations, Gavin became visibly emotional while singing the chorus. It was a powerful moment of mutual understanding between a songwriter sharing their deepest fears and being met with overwhelming reassurance and empathy in return.

The themes running throughout 'Dancing on the Wall' feel especially poignant in the current political climate. At a time when queer communities face growing challenges around the world, the album's spirit of defiance, joy and self-expression feels more necessary than ever, mirroring how music was utilised for liberation movements during the 70s, 80s and the 90s. MUNA shows weren't simply album celebrations; they felt like declarations of queer resilience and judging by the crowd's response, the message landed exactly as intended.

Structured as a two-part performance, there was a full play-through of 'Dancing on the Wall' which felt refreshing as many fans are accustomed to seeing beloved deep cuts disappear from tour setlists. The second half shifted gears into some of the band's most cherished songs.

The production complemented the emotional arc of the set beautifully. Moody, low-lit staging heightened the intimacy of the newer material, creating the feeling of a sweaty, immersive queer club night. The lighting rarely distracted, instead enhancing the narratives of the songs.

As the second half opened with 'Stayaway', the room instantly connected with one of MUNA's defining tracks. Its bittersweet longing and yearning provided a perfect bridge between the introspection of the album set and the euphoric queer dance-floor vibes that followed.

Fan favourites 'What I Want' and 'The One That Got Away' naturally earned some of the night's loudest reactions. And, of course, no MUNA show would be complete without Stacy, the beloved inflatable horse who has become an unlikely but essential supporting character in the band's live mythology.

Ending the set with the queer unifying anthem, 'I Know A Place', MUNA delivered something far greater than a standard concert. It was a celebration of queer identity in all its forms, soundtracked by immaculate synth-pop, razor-sharp songwriting and genuine emotional connection. The show was community and joy rolled into one unforgettable evening.

MUNA's music continues to encourage listeners to love openly, feel deeply and stand proudly in their convictions. In a world that often makes those things feel difficult, that message feels invaluable.

And for anyone who missed out on these Heaven dates, there's good news: MUNA return to London for another takeover this November. They are ready to do it all again bigger, louder and somehow even gayer.

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