Presenting a mellifluous blend of 2010s dirt grunge and indie nostalgia, washed over with a refreshing dose of mellow synth pop, Sunday (1994)’s unforgettable live performance continues to haunt the Sunny’s basement. Paige Turner’s velvety vocals and compelling bodily performance, as well as Lee Newell’s infectious charisma, immersed their music with a new warmth unique to this live performance.
beaux was the perfect opening act, complementing Sunday (1994)’s maudlin atmosphere. beaux’s sound is stitched with a similar niche aesthetic, reminiscent of everything 2014, Tumblr and The 1975 at their peak. “I’ll Be Here When You’re Back” was an instant crowd favourite. It’s an instantly recognisable hit, and after the gig I realised I’d heard it on TikTok. It’s safe to say it’s viral, with a massive 26k videos using the sound. The comments are flooded with comparisons to blink-182 and Cigarettes After Sex, while others allege it’s the perfect track for long walks and train journeys. With your head against the window and watching life pass you by, beaux is the perfect companion to main character syndrome.
beaux is a self-taught artist, and his raw talent and hard-work are not lost on me. He is nothing short of authentic. While comparisons are meant as compliments, I would not wish to take attention away from the originality that is at the core of beaux’s art. beaux has emerged with a sound inspired by the past decade, but better.
Sunday (1994) shortly followed, and their set did not disappoint. Paige Turner and Lee Newell were not afraid to let themselves go in the music. Together, they posit the perfect mix of Californian optimism and quintessential British charm. There is nothing better than seeing an artist present in their body, feeling the music as they speak the words and strike the chord. Puma oscillated between powerful and subtle on the drums, matching the rising and falling tides through Sunday (1994)’s discography.
They have a sound that blossoms, one that pinches my throat yet relaxes my muscles. From “Tired Boy” to their latest song “Devotion” (released on Spotify just shy of a month ago), Sunday (1994) has me wanting more. Turner and Newell are not strangers to the music scene — “We’ve been working together for 10 years in music, doing our own projects, writing for other people, writing for sync”, they told Rolling Stone Magazine last October. They are finally crafting art in their name, and it sounds as good as it must feel. I felt lucky last Wednesday, lucky they took this leap in their careers, and lucky I was amongst the crowd and in their presence in The Sunflower Lounge. I’m looking forward to whatever they bring to the table next, and I hope I’m lucky enough to catch them at a local gig again. For now, I have a beloved merch sticker and t-shirt, and their cardinal “Sunday Best” playlist on loop.