DJ DV One on Music, Art, and a Lifelong Love for Innovation
Photos provided by DJ DV One
By Emma Schwichtenberg
Toby “Fresh” Campbell, better known as DJ DV One, got his start in DJing through an unexpected twist of fate. Initially aspiring to be a rapper, he was forced to take over DJ responsibilities when his own DJ was incarcerated. Determined to keep making music, Toby traded his jewelry for his DJ’s turntables around 1991 or 1992 and began his journey behind the decks. Though he initially doubted his voice as an MC, he gained confidence over time, writing songs for himself and his friends, and honing his craft. His early career saw him as a part of the hip-hop crew Partners in Rhyme with DJ Daze and D Mak. Back then, a DJ was expected to do it all—battle, club gigs, mixtapes, and radio, and Toby embraced this versatility, developing the foundation that would lead him to become one of Seattle’s prominent figures in the DJ scene.
Converge Music spoke with Campbell about his journey from aspiring rapper to renowned DJ, his creative projects, and how he keeps his artistry fresh.
Okay, so once you got the turntables, you traded your jewelry, and you started DJing a little bit. How was that transition from mostly focusing on rap to turntables?
It was easy because I already knew how to scratch a little bit, right? Because whenever I would go to my DJ's house, I would practice scratching, right? And they would show me little stuff here and there. But it was easy because on the turntables, it felt like a different kind of thing than rapping. The transition was easy. Basically, it was easy to go from one to the other because all I had to do was battle and practice. You get fixated on learning something and learning all the different parts of it and pieces of it, and then it was a good time. Luckily, I knew what good djing was supposed to sound like. I knew what good mixing and good DJing was supposed to sound like because we had a bunch of DJs back then, like Nasty Ness, who would do Master mixes and stuff like that. Then all the East Coast DJs as well, West Coast DJs too. So, I knew what it was supposed to sound like. When I did it, I wanted it to sound like that, right? So it was pretty much easy to develop a style. The timing was good. It was a good time for music. You had '80s music, you had soul music, you had '90s music just coming into play. It was a good time in history to start, you know? There wasn't everything all digital. It was interesting. It was a different time back then.
And then how did you kind of see that transition? Because, like I said, I've talked to a lot of DJs, and I feel like a lot of them have their own unique experiences going from kind of... a lot of them have started in the '90s, and then they have to go a little bit more electronic as the years went by. How was that kind of transition for you?
I loved it. I loved it because I was at the forefront. I figured out early that if you work with the companies that make everything, then you could be a step ahead. If you work with the record labels, they're going to send you free records. If you work with the people who make needles, they're going to send you free needles. If you work with the people who design mixers, then they're going to give you free mixers. So I just kind of started working with everyone—if the transition was to be difficult, I was already ahead of the curve, so to speak. Once the digital switch took place in like 2004, I was ready. I was already stocking up on MP3s. I was ready to get rid of all my crates. I was ready to make that transition, so I switched over easily. Luckily enough for me, I was on the forefront of that curve, to where I was anticipating it. So when it came, I was really, really ready. I didn't hate it or anything. There were some kinks that had to be worked out, but for the most part, it was good.
How would you say your career trajectory went? Because I know that you've DJed for the Seahawks. I know that you kind of toured and gone a little bit worldwide. How did you get to those points from the point of selling jewelry to get the turntables in the first place?
I got lucky, man. I was surrounded by good people. In 1996, I started working at KCMU, which became KEXP, with Nasty Ness. That year, he took some mix show DJs, including Rob Brewer, to the Gavin convention in Atlanta, where we won the award for Best Mix Show. This opened doors to record labels, and I began receiving free records and reporting chart data, which helped my career take off. KCMU gave me exposure, leading to international mixtape awards. I also won the ITF International Turntablist Federation Seattle regional battle in '97, which helped me connect with others in the industry. Meeting battle DJs led to relationships that opened opportunities, like the Seahawks gigs. My journey was a mix of hard work, luck, and being in the right place at the right time while also being recognized by the right people. I was also very fortunate to have worked heavily with Jon Moore. He taught me alot about integrity and the importance of doing things properly.
When did you first get the gig DJing for the Seahawks?
That was in ’05.
Okay, so that was right after the technology switch, then?
Correct, correct. Yeah, that was in 2005.
And then how long did you do that for?
Ten years. So, 2015.
How did you transition from DJ mix shows to being an official DJ? Did you have to adapt your music style?
Definitely. The music I play depends on the crowd. For example, a hip-hop show in New York requires a different set than a football game where I’m performing for fans aged six to sixty. The audience is diverse, so I have to gauge who’s there and what they want to hear. Players have specific tastes—they might want the latest hype tracks, while the crowd may prefer classics like "Sweet Home Alabama" or "We Will Rock You." Coaches often request something energizing, like Bruce Springsteen’s "Born to Run."
I adapt by observing the crowd and adjusting my set accordingly. On game days, Sunday), I might start with some church music to warm up, and then play what the players enjoy, like Michael Jackson for Russell or Alicia Myers for Kam definitely Future for Mike Bennett and some philthy rich or Fabby for Lynch.
So the team would make song requests with you?
Oh, of course, of course, of course. The team members would come over and they’d request like Migos or Jeezy or whoever was hot at the time, you know, as far as mainstream rap or maybe even, you know, down south rap, mumble rap, whatever was popping at the time. They would come up and they’d want to hear whatever was popular at that time. A lot of the stuff wouldn’t even be on the crowd's radar as far as mainstream music was concerned. Like people weren’t necessarily familiar with it, but the players would know it all. Like they want to hear Waka Flocka, they’re going to know all the words to the song, but someone in the crowd might not necessarily know that.
I’m curious—do you have any memorable moments from DJing that stand out, like a story you enjoy sharing?
One of my favorite Seahawks memories was at training camp. I was DJing while the team was scrimmaging, and this wide receiver caught a touchdown pass just as I mixed in this super hype song right at the perfect moment. The crowd went wild—it was like everything aligned, and it felt incredible. Another amazing moment was DJing the Super Bowl homecoming celebration at Westlake Center. There were about 400,000 people there, and the energy was unreal. Supreme was there with me, which made it even more special, as he's been a huge figure in Seattle's music scene. He’s been part of the community for a long time, and I’m always glad to give back to him and others who've supported us along the way.
How would you say DJing for Seattle audiences compares to crowds in other parts of the world?
It depends on the crowd and venue. Seattle has pockets of people who really know the scene, but generally, the club culture here is a bit limited compared to places like New York or Miami, where clubs stay open later and have more diverse music selections. Seattle clubs tend to close around 2 a.m., and the music is often what people know from local radio, which means the variety is narrower. In places like California, you could play a whole Brazilian set and find an audience ready for it; Seattle doesn’t quite have that level of diversity in its club culture.
Where are you based currently?
I’m in Hawaii right now. I moved to Hawaii as soon as I stopped DJing for the Seahawks.
What are you doing in Hawaii right now?
I get DJ gigs every now and then—corporate gigs. So I still work. I still DJ, but just not as much as I used to. Not as visible as someone like my boy Supreme LaRock or DJ Charma, they’re still heavily active. I’m just picking and choosing what I want to do. eah, I’m living a different life now. I’m old, dude. I’m 50 years old now, so it’s like, come on, man. Time for some sun & fresh fruit.
Campbell is actively working on several projects. Recently, he collaborated with a friend in California, adding scratches to a track for a female artist. He still creates mixtapes occasionally, often for BBOY events and breaking jams; last year, he did one for Freestyle Sessions, Redbull Lords of the floor, and Massive Monkees anniversary, with another planned for November. He also worked on a unique project for Coke and Oreo’s recent collaboration, which features a Coke-flavored Oreo with red Pop Rocks, as the brands playfully call each other “best friends.” Alongside his music, Campbell has been reconnecting with his artistic side, focusing on painting and enjoying what he describes as his “Bob Ross” phase.
Find him on Instagram @dv_one.
