Beyond the obvious draw of the first Skylar Spence’s full-band tour since the untethering from an internet-only existence, viagra buy Thursday’s appearance at Great Scott marked the closest thing to a college reunion Ryan DeRobertis is ever going to take part in.

Other than being the origin site for his rise as vaporwave deity Saint Pepsi, Boston College was also the place where, as DeRobertis freely recalls it, he got his “ass handed to [him]” in music studies. He left towards the start of 2013 when Pepsi became a more enticing full-time option than toiling in sound production classes, but the memory still lingers on the night. Despite such dismal beginnings, the newly rechristened Skylar Spence is all unabashed grins and celebratory nu-disco hits, handling Thursday’s set like the raucous reunion afterparty for the handful of old college friends he actually wanted to see.

Openers Jonah Baseball and ABSRDST, both stationed on an unassuming table near the front of the dancefloor, offered the kind of eclectic DJ sets only denizens of a scatterbrained Reddit culture could provide, simultaneously serving as a representation of Spence’s roots pre-name change. Baseball’s set weaved D’Angelo up against Bondax, Jai Paul and Ciara’s forever crowd-erupting “1, 2 Step”, while ABSRDST found a bizarre but effective meeting point between hip hop, chiptune-worshipping EDM, and J-pop to ultra-danceable results.

Saint Pepsi, if he were still a thing, would unassumingly swap out with ABSRDST and cut through a set of pitch-shifted, disco-aping remixes, but Skylar Spence has already declared a higher calling in this resurrection of sorts. Besides the two foot jump from floor to stage, every cut from Spence’s upcoming Prom King LP seemed to aim bigger than anything he’s put out before, going for complete historical revision as his mission. DeRobertis and his newly minted, three-piece backing band traded uncontainable smirks and George McFly-level enthusiasm over people dancing to the new material, but songs like “I Can’t Be Your Superman” and “Can’t You See” were undeniable crowd movers at the hands of DeRobertis’ undeniable pop craftsmanship.

“Is it hot up here? Uh… I mean, is it hot down there?”, DeRobertis asked with a chuckle during the brief set’s longest break. With old classmates making up a small chunk of the people in attendance, most people knew to expect a tongue-tied charm from Spence and Co, save a few newcomers. “You are too precious,” someone behind me endearingly cried out, leading to laughs and the band collectively smirking at the floor mawkishly. It’s situations like these where the “preciousness” factor accompanied by his sugary take on nu-disco and new penchant for pitch-perfect vocals might lead to some unfortunate comparisons to Owl City as his star rises down the line. Make no mistake, though: Skylar Spence is more than another overly fizzy pop drone.

Not even mentioning their music videos that veer towards a more suggestive audience (see: the irreverent use of a deflating disco ball in “Fiona Coyne” as a euphemism for… ahem, sexual desire), Skylar Spence’s live set strung decade-spanning samples up with a backing band that makes DeRobertis’s jump from behind the computer screen feel seamless.

Building to a peak with the aforementioned “Coyne”, DeRobertis made a joke about trying to come up with a way to make their set better before launching into Pepsi classic “Better.” Corny as it might’ve been, the desire to redo and making things “better” practically glows from Skylar Spence as they move rapidly beyond vaporwave, Boston, and anything else that might hold them back.