Some more specific things that I've found over the years that help spark creative ideas. To an extent these are fairly "mechanical" exercises, but the idea is to just get you started thinking differently about what you're playing:
1. Try setting up your kit in ways that force you to play differently. (a) If you're right-handed, set up and play lefty, or vice versa. (b) Set up your toms in "cymbal positions" and your cymbals in "tom positions", and don't just stretch to play what you'd normally play anyway. Try to use each surface differently than you normally would. (c) Leave some drums off that you normally rely on most of the time--like your bass drum or snare drum, set up two hi-hats for your feet instead . . . etc. The idea there isn't that you're going to play with your kit set up that way on gigs, necessarily, the idea is that you want to start thinking about what you're playing differently--start deconstructing the cliches and think about completely new ways to approach the drumset.
2. Try to consciously NOT do something you typically do. If you typically lay down steady rhythms on a cymbal--eighth notes, the jazz ride rhythm, whatever--force yourself to completely avoid doing that (and also don't just move instead to playing that rhythm on a rim or a tom or something--play differently instead). If you typically whack the snare drum on backbeats, force yourself to completely avoid doing it. If you're playing reggae, force yourself to avoid hitting the bass drum on "3". Try just changing one habit at a time. Practice for a couple weeks just avoiding steady cymbal rhythms for example. Then for the next two weeks, either ADD avoiding snare backbeats, too, or avoid snare backbeats instead, and go back to some steady cymbal rhythms. The idea again is that you're going to deconstruct what you'd habitually play, all that cliched stuff, and instead invent new ways to approach the drumset.
3. Try playing along with records you know well, but rather than playing along with drum parts, play along with other instruments, trying to match the kinds of things they're doing as well as you can on the surfaces/instruments you have available.--how can you interpret chordal figures on your kit? Melodic lines? etc.
Again, those are just a few ideas to try. It's not that you have to play so unusually in a professional situation, but the aim is to just get creative ideas welling up--to get into the habit of coming up with unusual approaches, on the fly problem solving skills, etc.