It’s a dark, drizzly, night in London and there’s a crowd gathered around a set of decks.

They’ve turned up for DJ AG – whose street sets have been getting a lot of attention.

He invites people, anyone, to pick up a mic and spit bars with him.

It started as a platform to showcase new artists, but more recently, big acts have been getting involved, including Skepta, JME, Chip, Krept & Konan, Ms Banks, Devlin, ArrDee and Lethal Bizzle.

DJ AG always draws a crowd in real life but there are thousands more watching on social media – his streams have racked up millions of views on TikTok.

He tells BBC Newsbeat it’s not planned and he just rocks up with decks and sees what happens.

“The sets aren’t new but the fact they’re broadcasting them across the planet means people have an opportunity to get their music out there in an organic way.

“The great thing is we’ve shaken up the industry,” he says.

For aspiring artists, it can feel harder than ever to find opportunities to showcase their talent.

Figures released earlier this year by the Music Venues Trust said financial stresses led 125 UK venues to abandon live music in 2023.

That’s one of the reasons DJ AG puts on his sets.

“What’s different now is there’s nothing at grassroots,” he says.

“You’ve got a lot of open mics closed down.

“Right now, outside, we’re not paying for anything. A bit of power and we’re bringing it to the streets.

“On this platform, it’s free. The emerging artists don’t have to pay anything.”

Rapper Louis Massey and his manager Kaianne Lewis Sapong feel these types of sets not only help provide opportunity, but also offer the chance to hear something different.

“For me, it can help. It’s only one viral moment away from your career taking off,” says Lewis, 22.

“This is exciting. This is organic. This is the rap scene which came from the organic scene.”

Kaianne, 22, agrees that the industry sometimes feels “stale” at the moment.

“I complain about it frequently. Me and my artists want to really solidify our base so we can bring a difference to the UK because it sounds a bit repetitive at the moment.

“There’s a lot of talent in the UK but it’s not being pushed to the forefront,” she says.

In the early noughties, grime emerged from the electronic dance scene – helped by the underground and pirate radio stations.

Grime MC D Double E says the authentic nature of these live sets – which at times have a pirate radio feel – reminds him of his own journey.

“I learned this from lockdown. Everyone was going online, doing sets and it was a great look.

“When it stopped happening – I was like ‘why has it stopped?’

“To see people doing it now – like it’s new. It’s great.”

The record producer, who has been in the industry for over 20 years, says he “broke out in the same way”.

“Doing a set for no reason. But it wasn’t being recorded and people couldn’t watch it.

“This is the difference now – you can actually see it. Some of our famous sets, Roll Deep [the grime collective], Dizzee Rascal, you can’t see us, only hear us.”

“You’re gonna see more talent. More windows [opening]. That’s what’s supposed to happen when the light’s shining.”

And he says it will bring more originality, after a period of things feeling “a bit robotic”.

“For some reason, everyone just went international and the UK voice wasn’t there.

“Now it’s just straightening up a bit more.”

1Xtra’s DJ Target, another grime pioneer, feels people are now “enjoying that early essence” of the genre.

“That self-sufficient, just turning up at places, those live moments,” he says.

“So seeing that in 2024, a new generation getting stuck in and doing the same – I love to see it.”

He agrees with the views of artists such as Skepta, who believe “creativity sometimes get lost in the music industry”.

“It’s good to get back to that raw, straight to the consumer, sometimes direct from the street, untouched raw talent,” says Target.

“Seeing this happen in 2024, I feel there’s only going to be inspiration for the next generation.

“And we’re probably going to see a few stars come out of it.”

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