Years of starting and playing in bands that went nowhere taught Ed Hamell to appreciate the autonomy and freedom of experimentation that comes with being a solo artist. But when he was offered his first solo gig, and the opportunity to try out a handful of new songs for a live audience at a benefit concert, he thought he needed a better name than his just his own first and last. “Every musician in town was going to be there, so, knowing that I was going to be scrutinized, and also to differentiate myself from the James Taylors of the world, I decided to call it Hamell on Trial, figuring it would be a one-time deal.”
It became a full-time gig. That performance snagged him a record deal with a local label, “something I had never come close to in my band years, so even an idiot like me realized I was on to something, and the name stuck.” Since then, Hamell has been a troubadour wrecking crew, skewering assumptions about what one man and an acoustic guitar should sound—or look—like. Inspired by the classic rock and roll of Lou Reed, Iggy and the Stooges, and the MC5, and spouting lyrics that are at once politically inflammatory and sympathetic to the blue-collar characters that populate his songs, Hamell has carved out a truly original niche that only he inhabits.
He honed his sound and style during an extended stay in Austin, Texas, where he took up a Friday-night residency at the famed Electric Lounge. There he signed with Austin’s Doolittle Records, and in 1994 released Big As Life, which got him noticed by Mercury Records, for whom he released the 1997 effort, The Chord is Mightier than the Sword.
A return to New York shortly thereafter saw him recording his next album, 2000’s Choochtown, in his basement in Brooklyn for release on his own newly-formed label, Such A Punch Media. A May 2000 auto accident sidetracked him for nearly a year with head and spine injuries, but he recuperated and returned with a vengeance, delivering the live album Ed’s Not Dead: Hamell Comes Alive in 2001, and returning to touring.
Hamell on Trial’s latest effort, Songs for Parents Who Enjoy Drugs, finds him on Ani DiFranco’s Righteous Babe Records, and is earning him new rounds of critical acclaim and fan hosannas.