In 2008, when we dreamt up a future, what colours came to view? How can electronic beats transport us to somewhere celestial yet tranquil, leaving us feeling calm when midnight strikes? Is it true that our computer mouse can paint a future with purple pixels? 

On September 24, George Clanton touched down in Montréal to plant the star-shaped chip in our minds that conjured such questions. Representing his ‘ESPRIT’ persona as a producer, he played his 200% Electronica album alongside singles from the 2010s. In the dome-shaped SATosphere (Societé des Arts Technologiques), the Virginia-born and LA-based musician immersed us in swirly synths, a percussion’s throb, and a kaleidoscope of old-school screens.

For 90 minutes, we all had the excuse to be somewhere else– not just physically, but spiritually. Clanton’s set rejected a song-applause-song-applause pattern, opting for a full-fledged story that unfolded before our senses. Between classics like Warmpop and Hey Big Eyes (George Clanton Remix), Clanton played atmospheric titles like Seal and Esprit.Wav. It was easy to feel like an alien mermaid girl experiencing the threshold between Earth, sea, and sky. 

I’ll be truthful when I say that Clanton’s show did feel overwhelming. Between shielding my ears, staring at a spot on the floor to prevent dizziness, and cloaking my eyes with my sweater, the effort to self-regulate felt like survival. Albeit difficult, I tried to reframe the space as a hub for peace, not chaos. Halfway through, I migrated to the back of the crowd; however, I was still bumping. As dozens of old televisions flickered and synths amped up, I felt transported to early life: the kindergarten computer lab. Gradually, I could smell the squishy keyboards and the simple yet sweet ‘paint’ tools. 

The moment I stepped outside and perched myself in a patch of green space, I inhaled the crisp air while my body buzzed. The early autumn breeze brought be back down to Earth, yet solidified the reminder that yesterday and tomorrow are ever-entwined. Next to me, fellow attendees sporting fun makeup raved about POP and the anticipation of autumn. We discussed all of the incredible talent that this year’s edition of POP has gifted us, and how special this city’s festivals truly are. 

It’s clear that George Clanton’s night in Montréal has pushed retrofuturism into the forefront of our minds. We remember the wind on our face during recess, sketching images with sand— being immersed in a story that slices through the ordinary pace of our interactions. Box-shaped televisions and lagging computers become sexy, not strange: once a promise of the decades of media escapism we enjoy today. A signifier of potential. The remote control becomes a decoy, refusing to “press pause” on real life. Fantasy and reality assemble into one continuum. Patrons shimmy their way into the first days of the WWW and the effervescent hope that came with it. I dance like the 2011 computer lab is still my oasis, the gamers next to me take a hiatus from re-attempts at the same level, and vinyl collectors clutch onto shiny new discs. Despite the different havens of pixelated pleasure we indulge in, we all sway to the same pulse. Undoubtably, I’ll be chasing the feeling from last month at next year’s POP. Until then, cheers to more homages to the Early Internet!!!

-Hannah<3(writing&photos)