LIVE REVIEW: Sunday (1994) at Stubb’s Austin (Indoors)
AUSTIN, TX | STUBB’S AUSTIN (INDOORS) | OCTOBER 8, 2026 | BY ERIC MARTINEZ
Known for being the band with the picket sign, Sunday (1994), consisting of vocalist Paige Turner, guitarist Lee Newell, and drummer Puma, performed in an intimate indoor setting at Stubb’s Austin as part of Austin City Limit’s Nights Fest. The band made their Texas debut with a short run of headlining shows while also gracing the Snapchat Stage at ACL Festival both weekends this year.
Arriving at the venue, I had the opportunity to share a quick conversation with the trio, alongside their Texas touring bassist, Radha Windham, reflecting on memorable moments from their tour. With fans having gathered from around the world, the band expressed their gratitude for those who supported them throughout their run of shows and shared their excitement about releasing their debut studio album. The time spent with the band felt surreal, and after stumbling over more than a few words, we exchanged goodbyes in their dressing room before heading back inside Stubb’s.
Semiwestern, a Texas-based indie alt-rock project led by Ty Bohrnstedt, opened the night with a distorted, atmospheric sound that set the scene for the melancholic escape soon to follow. One by one, Newell and Puma made their way across the low platform stage, Guinness in hand, as they prepared for the set. Turner soon followed, dancing her way to the microphone before launching into “Rain.”
Despite the relatively small venue, the crowd was anything but subdued. With every glance to my left and right, I found fans completely enamored by the band, singing back the lyrics to their opening song. All the while, Turner leaned into the theatrics of an eye-catching performance as the band transitioned into “TV Car Chase,” encouraging the crowd through a call-and-response around the haunting, Sylvia Plath-inspired lyric, “My head is in the oven.” As unsettling as the sentiment may seem, sharing that moment with so many others felt unexpectedly healing, especially given my own deep connection to the song.
A somber night defined by an ambient live performance and symbolic lyricism, it was difficult to put into words just how immersive the set had been. Beyond the musicianship, the band’s personalities shone onstage, making it hard not to find myself diving deeper into their discography, as I did upon returning home. The intimate venue and low stage only added to the experience. The band even remarked that the setting felt like band practice, a sentiment that unknowingly played in their favor. Fans throughout the room were able to get the most out of their experience as the band engaged with the crowd through awkward Meta jokes, an audience member’s spirited attempt at a grito, and lingering eye contact that made the room feel even smaller.
With only two EPs to their name, nearly every song in the band’s discography had its moment. Notably, “Blonde,” a dark yet humorous breakup song exploring jealousy and the desire to reinvent oneself, stood out alongside “Blossom” and “Doomsday,” all of which made for some of my favorite performances of the night. Turner also revealed the dedicated picket sign for the night, appropriately themed for their Texas debut: “LONE STAR STATE OF MIND.” Although a bit more tame compared to their ACL festival signs, “CASTRATE THE CORNELL SEVEN" and “I BELIEVE YOU JANE DOE”, both posing strong messages to festival-goers given recent events, it was the perfect closing for the night. Hopefully, the next time I get to bear witness to Sunday (1994), it will be in an even larger venue, maybe even an arena. Until then, I’ll be cheekily holding them to their promise to guestlist everyone in attendance.
