At 21 years old, rising Bronx rapper A Boogie Wit Da Hoodie draws his influences less from the NYC hip-hop pioneers working with two turntables and a microphone, and far more from the megastar MCs of the noughties. Over the course of a self-released mixtape (2016’s Artist) and a major label album (this year’s A Bigger Artist), he has skilfully referenced contemporary icons, taking in the Auto-Tuned self-reflection of Future, the sing-song humblebrags of Drake, and Kanye’s penchant for electronic experimentation. But tonight in Brixton, it becomes apparent that at least one familiar, welcome remnant of Bronx boom-bap culture remains: he knows how to put on a proper live show.

Bounding on stage with a huge grin as his DJ scratches up current club hip-hop hits, A Boogie is a spindly, hyperactive performer, springing from one speaker stack to the other as the DJ gamely runs through rap shoutout 101 (“put your hands in the air London”, etc). A Boogie is dressed unobtrusively in a beanie hat, sports sweater, ripped jeans and – by hip-hop standards – an extremely modest gold chain, looking more like the rap scene’s latest art director than its breakout star. All of this adds to his likability, a good-times everyman who’s there to enjoy himself, as he swiftly kicks into a party-starting rendition of Wild Thots – a mischievous remix of Rihanna’s Wild Thoughts.

The rowdy Brixton crowd reward this sense of fun, with stage diving, mosh pits (largely unheard of at London hip-hop shows until a couple of years ago, and a sign of grime’s cultural infiltration) and communal singalongs from start to finish. In true rap-show style, Boogie’s DJ brings out special guests, from the expected – A Boogie’s regular Bronx sparring partner Don Q, who slightly sags – to the pleasantly surprising: Stefflon Don belts out current hit Hurtin’ Me. A Boogie’s slightly bemused, if benevolent response to the latter suggests he may not have actually heard the track before tonight, but he’s a generous host all the same, and the audience lap it up.

His own hits are dashed through in truncated form, with no song lasting more than two minutes before another beat gets dropped. The sheer battery of earworm hooks suggest that Boogie’s popularity is driven more by his sense of melody than the content of his lyrics, but as the set draws to a close he delivers an impeccable a capella of biggest hit Drowning. While his sound is firmly new school, the stagecraft is timeless.