Sunday (1994) live in colour
It was a cinematic night at Glasgow’s Òran Mór.
Photo: Isla Kerr
Following a massive start to 2025 that saw them sell out their debut headline shows and release their sophomore EP, Devotion, Sunday (1994) returned to the UK for a second run of dates, bringing their biggest headline tour yet to Glasgow’s Òran Mór.
When the house lights finally dimmed and the stage lit up in a soft VHS-blue glow, the band walked on stage to a montage-ready instrumental, like protagonists stepping into their own film. Opening with Our Troubles, vocalist Paige Turner’s dreamy vocals and ethereal presence immediately shifted the room. Her movements captivating and deliberate, as if she were controlling the entire scene herself.
Even in such an intimate venue, the pair’s attention to aesthetic detail was striking. Every shade of light, every pocket of stillness was finely chosen and carefully placed. If the crowd was initially subdued, it was because the band were already several scenes ahead, performing with the conviction of artists who knew the exact story they wanted to tell.
It didn’t take Turner long to call this out, however. By the time Softly rolled in with its Cranberries-esque ache and Lee Newell’s theatrical guitar work, she levelled with the crowd: “Okay, we have some work to do with you.”
Yet, soon after the sparkling soundscapes and moody guitars of Devotion, TV Car Chase and Blonde – which had the crowd gleefully yelling “that place is a shithole” – the icy room finally thawed. Energy loosened, arms unfolded, and for the first time that night, Glasgow seemed ready to meet the band where they were.
This meant that when the undeniable highlight of Still Blue arrived, it landed with full force. The deepened live mix, paired with its swelling, blue-washed lighting, gave the song a new, cinematic edge, turning the small venue into something far grander than its four walls.
Not long after, a loud, unified chant of “here we fucking go” summoned the encore, and Turner returned holding a sign bearing the same words, before pushing the energy even higher with Blossom. But it was Tired Boy that delivered the most cathartic moment of the night. Hands shot up on command, voices lifted, and Turner climbed down to the barrier for the final chorus so that the line between performer and audience completely dissolved.
In the end, the show played out like a captivating film about connection: earnest, emotional and beautifully scored. Known for making music that is equal parts sad, funny and piercingly real, Sunday (1994)’s live show reflects this, balancing fragility with cheek, sincerity with playfulness. As Turner demonstrated when thanking her Glaswegian crowd: “Thank you so much, from the heart of my bottom.”
All photos by Isla Kerr.