Hamilton Belk is a multi-instrumentalist producer from the depths of 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, woodshedding steel guitar. His studio, Roughly Nowhere, was born. Belk toured in various alt-country and folk noir bands out of Maine before falling into Denver, Colorado’s re-burgeoning honky tonk scene. As of 2020 he’s back in New England, performing in bands like Cut Worms, the Yawns, Jeffrey Silverstein, Dead Gowns, and Wildflower.
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 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 installation for Meow Wolf Denver.