Music Theorists, I have a question about suspended chords. Do you think you could help me?

yeah, those 3 notes have two names. thats fine.

actually they could also be thought of as a a quartal chord built on G (G D A)

(chord based on 4ths instead of 3rds)

context matters. a sus4 is named that because the 4 is considered a suspension that would like to fall to 3, giving you D F# A. so if the chord before and/or after it was some kind of D chord, you would be more likely to perceive it as Dsus4 instead of Gsus2.

but if everything around it was nontertian chords, you would probably analyze it as a quartal chord.

also remember, when playing with others, the guitars choice of voicing cant change the inversion if the bass or keyboard is playing a different bass note.

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if you are going back and forth between classical theory and pop/jazz theory, you will find the pop stuff often has different names for the same chord.

for example, a G6 in pop would be the notes G B D E

which is exactly the same as Em7 in first inversion (often called Em7/G in pop charts)

in classical, you would never name it G, because G is the bass, not the root, and classical theory names chords for the root.

in pop or jazz, your reason for using G6 could be to clarify a continuity of voicing, because people are actually performing from the chord symbols.

classical symbols are for analytical purposes, not practical ones.

a good pop musician still *knows* that G6 is Em7/G, they just prefer being able to read it the way that is clearer in context.