Blossoming with Sunday (1994)
Article by Grace Wallace
Nothing compares to seeing your favorite artists live, especially at an intimate venue like Schubas. For fans of Sunday (1994), however, this isn’t just any concert; this is the band’s Chicago-debut—their first tour ever.
Releasing their first song, ‘Tired Boy,’ in early 2024, Sunday (1994) quickly gained a cult following for their dream-pop sound that feels like it was lifted from your favorite indie teen movie. Their 2025 tour celebrates their first EP and offers fans a night immersed in the Sunday (1994) creative universe.
Taking the stage first was Theo Moss. With dreamy rock beats and rich backing guitar, her song ‘Autopilot’ captured the audience. Halfway through, some concertgoers make noise after Moss asks if anyone else is going through an Oasis phase. She then treated the crowd with an acoustic cover of the famous Britpop group’s song, ‘So Sally Can Wait.’ Moss also performed her latest song, ‘Intermission.’ Released this March, it matched the energy of the room, leaving the audience elated as they danced along.
As a stylized intro built anticipation, Sunday (1994) made their way on stage, opening with fan-favorite ‘Blonde.’ As the set progressed, fans jumped and sang along to the lyrics. Lead singer Paige Turner engaged with their excitement and held out the microphone to them. After a few songs, Turner playfully interacted with the crowd. “Shocked anyone would want to listen to our music…just kidding, I’m not surprised,” she teased as fans laughed and showed support.
The group also debuted a new song, ‘Devotion,’ from their soon-to-be released EP on May 9th. Turner explained the interconnectedness of the new EP to the last, with some of the new songs being a continuation of the stories from the first EP, be it a prequel or sequel. One of these tracks is ‘Still Blue;’ before performing, Turner noted how it’s connected to ‘Blossom’ and seeing light at the end of the tunnel.
Guitarist Lee Newell formally introduced the band, consisting of Lola Colette on bass, Puma on drums, and of course, “the belle of the ball,” Paige Turner. And the belle she truly was. Donning an ethereal, white mini dress, Turner’s presence was captivating, locking eyes with concertgoers as lyrics left her lips. Beyond the audience, she would float across the stage, sharing moments with each band member throughout the performance.
Beyond Turner’s enamorating vocals, another highlight was Newell’s solo in ‘Our Troubles,’ where fans rocked out in unison to the refrain. But one of the most special parts of the night would be after the set wrapped, when the band stayed an hour to meet fans. Their interaction with each fan was personal and meaningful: complimenting outfits, taking photos, signing merch, and engaging in bits of small talk. The appreciation was clearly not just fans for the artist; it went both ways.
Though a relatively new group, Sunday (1994) has a clear vision of who they are and what they want to put out to the world. Their show was a wonderful conclusion to my time writing for WLUW, a piece of my collegiate career that I credit to nourishing and expanding my love of music. As I enter my next chapter, it’s artists like them that remind me of the beauty and wonder of the unknown road that’s ahead. I’m in awe of the music and community Sunday (1994) has created so far, and I cannot wait to see how they continue to blossom.