Hamilton Belk is a multi-instrumentalist producer from Maine by way of the Carolinas. In 2013 Belk picked up the sad machine and a tig welder and took a deep dive into the world of steel. He spent his days working as an assistant for nail sculptor, John Bisbee, and his nights in a waterless shack in Cundy’s Harbor, woodshedding steel guitar. His studio practice, Roughly Nowhere, was born. For the next three years, Belk toured in various alt-country and folk noir bands out of Maine before falling into Denver, Colorado’s re-burgeoning honky tonk scene. One night after a show at the Denver Hi Dive, he hopped into Dylan Earl’s van, and started putting down some serious milage around Europe and North America. 


Hamilton Belk’s songs are humble affirmations that paradox is the only way forward, born on the shards of time between tours and overdub sessions. His influences draw from the country-folk lexicon, slacker rock, years of recording parts for everything from Urdustani folk to petrosexual pop country, and the timeless, lonesome tears of the steel guitar. Belk’s debut single, Endless December is a loungy, baroque pop mantra with a tinge of twang.


Belk has contributed to records by Brigid Mae Power, Henry Jamison, Peter Broderick, Message to Bears, Chris Staples, Aeseaes, and hundreds more. His work has been featured in the Portland Biennial in collaboration with artist Emilie Stark-Menneg. He is currently part of a team working on an interactive, multi-media installation for Meow Wolf Denver.