Feet On The Ground: DJ AG Is Making His Mark
2024 is the year UK music unplugged from social media and went back out on to the streets. From Jme selling CDs direct to fans, to DJ Mak 10 transforming the road into a performance space, it’s a time to escape the algorithm, and embrace IRL. A key part of this has been DJ AG – a humble North Londoner, his open-floor sets have produced viral moments from modern UK rap greats and complete unknowns, embracing a form of direct connection between artists and fans.
When CLASH is patched through to DJ AG – real name Ashley Gordon – he’s a figure of calm amid the online hype. “It’s an exciting time,” he smiles. “I’m just glad to play a small part in trying to rejuvenate the community.
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As a kid Ashley was a grime MC, before switching to turntables. Using live-streaming as a means to build his audience, he started to play around with the formats he was embracing.
“The reason – honestly – is because I was bored,” he recalls. “I’d been doing TikTok for a year, but I’m the kind of person who likes to push the boundaries. During this bored phase, I noticed this guy Suat on YouTube, who takes his stuff out into the street. And I thought, I could do something similar, but more in my lane. Started outside Alexandra Palace, and it went crazy from then. Moreso as my kit is so heavy! But I found it fun.”
Initially, DJ AG was hoisting his kit on his shoulders, wearing the speakers on his back. Eventually he started to settle in specific places, and as he performed observed the mood around him. “I hadn’t noticed the darkness outside,” he says. “And there is a lot of darkness. For many reasons… some of that is financial, some of its mental health, kids who don’t engage with school. So I started using a bit of music and interaction to bring that joy back!”
Watching DJ AG’s streams are a remarkable insight into London right now. From street cleaners grabbing the mic to surprise sets from Skepta, Jme, Chip, and Stormzy, the real stars are often the passers-by. “Listen, I’ve seen people frown, thinking: what’s this guy doing? Once they hear the music in air-shot, you could see people smiling, people coming over to interact… and I would encourage them to come over and just have a have a chat, ask them how they’re day’s going, some silly questions. People were just walking away with smiles on faces.”
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The colossal growth DJ AG has experienced this year is due to those stellar guest spots, but also due to the enduring simplicity of his format. In fact, he was actually resistant to having known guests at first.
“A friend suggested it, and I was like: nah, you’re crazy. Like, I’m dealing with people that are on substances, I’ve got people throwing eggs at me, people throwing water at me. I have people touching my deck, and then you want me to bring artists on as well? You must be absolutely mad.”
Eventually he relented, and when DJ AG noticed the way artists would interact with the people around then, he saw that a special shift was taking place. “They just felt good about being involved,” he shrugs. “In thar way, it makes sense to involve people. And if they’ve got a talent, then we should try and showcase that if we can.”
A set in Brixton saw legendary MC Daddy Freddy jump on the mic, producing arguably his first full-on viral moment. Skepta and Jme went back-to-back on one memorable Sunday eve, spitting bars in front of goggle-eyed fans – Ashley actually went to the same primary school as the Adenuga brothers. “We’re all from Tottenham,” he laughs. “It was a full circle moment. But for me, I don’t get overwhelmed by anyone, any artist. I see them as human beings, I just want to show support.”
For past few months, DJ AG has mostly been found at a now instantly recognisable corner of Kings Cross. It’s a potent site – the traffic rushes past, while its positioning next to the station acts as neutral territory between London’s various compass points. “It’s a very diverse place,” he notes. “And it’s very open. You’ve got traffic coming from different directions, and for me it feels like a hub.”
“A lot of the pubs, the clubs, the areas to do open mic… they’re all closing down. There’s a lot less opportunity. You need to pay for a beat, pay for studio time. New artists need to hope and pray that their TikTok goes viral. But what at the chances of that? For me, it’s great to try and take back public space, and say: here’s the opportunity, make the most of it.”
“When I talk to people about the scene here in the UK, people believe that it’s gone a bit flat, and it’s become too difficult to get out there. We kind of have to take a step back, and think: alright, cool, we all need to make money… I understand. But we also need to try and help those people that have got talent to get to the next level.”
“It’s a balance,” he points out. “Less focus on numbers and views and all of that stuff, and more focus on the actual creativity.”
With his wide-open format, DJ AG is able to move between styles and genres. Sure, he’s become associated with grime and UK rap styles more generally, but a recent spot from Jorja Smith shows he’s keen to lean in to that soul and R&B lane – it’s about talent, not genre.
“I get bored easily,” he laughs. “I like playing different genres. And for me, I think it’s great to support the artists. Some do R&B, some do hip-hop, they might do grime, dubstep… but they might do pop, indie, alternative, rock, DNB. I’m open to it. If it sounds good, it sounds good!”
DJ AG’s rise has brought a number of different critiques, and he’s the first to say he’s open to feedback. “I’m still trying to figure out the right things to do. I’m sure I’m going to make mistakes. I’m sure I’ll get the odd thing wrong here and there. But look, for me the standpoint is community. We’re doing our best and we’ll learn as we go along.”
What we’re seeing is the emergence of a new platform in real time – the man in the middle, though, is taking it all in his stride. “I’m an old man. I’m 39 now!” he laughs. “I’m definitely a lot more calm. I’m humble, grateful that the support is there. For me, I just want to enjoy it, stay humble. Feet on the ground.”
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Words: Robin Murray
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