The solo debut from this former Papermoon frontman finds David Messier reaching stylistically. Cutting sharp lyrics and melodies from the outset with the easy roll of “Don’t Say Nothin’,” Messier wraps his voice warmly around the weathered but smooth “Change.” Waiting for Eldridge then takes a sharp turn on the alternative pop twist in “Last Letter,” dark vaudeville of “Franklin’s Key,” and syncopated warp of “Down.” Although the singer’s all over the map, it’s more an expanse of talent and ideas than sheer lack of focus.

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This article appears in June 24 • 2016.

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Doug Freeman has been writing for the Austin Chronicle since 2007, covering the arts and music scene in the city. He is originally from Virginia and earned his Masters Degree from the University of Texas. He is also co-editor of The Austin Chronicle Music Anthology, published by UT Press.