Like his fellow bandmember turned soloist Aaron Frazer, Durand Jones unlocks new artistic heights on his first solo outing. Trailed by single ‘Lord Have Mercy’, Jones’ debut album Wait Til I Get Over explores his complex relationship with his hometown of Hillaryville – an unincorporated community founded by former slaves. ‘Through this process I’ve come to learn that I am a proud descendent of Longshoremen on the river, and sugarcane and rice farmers on the land—all in the deep rural south of Louisiana,’ Jones says. ‘I am a proud son of Hillaryville and I am proud to be a part of its legacy. This is my story.’ This project is rooted in soul revivalism with touches of Muscle Shoals grit and rock grunge, offering variety from the more disco-sensibilities of his recent Indications output. Songs which risk flirting with derivative retro soul are lifted by these rock-edged arrangements. For example, ‘Sadie’, wherein Jones reminisces on an affair with a married woman, begins as as pleasant mid-tempo before ascending to blaring heights. On the choral gospel of the title track, Jones is at his most raw and elemental. There are also moments of touching lyricism. ‘The Feeling’ is a bittersweet retrospective on a same-sex relationship conducted under the veil of secrecy – the first time Jones has openly acknowledged his sexuality. His soulful pipes are in fine form throughout, at their most moving on a terrific rendering of Donny Hathaway’s ‘Someday We’ll All Be Free’.