Diana Jones’ voice is rich and honeyed, with just a hint of Appalachian sour. The instrumentation of Better Times Will Come — a swaying combination of wooden guitar, worn-in fiddle, and banjo — envelops Jones’ voice, and functions more like a choral rejoinder than a background ensemble. Jones deals with the eternal themes of folk music — hardship, forsakenness, and hope in the face of adversity — but she refuses to rehash stereotypes. Rather than adopt the angular uproar of mountain music, Jones’ incorporates into her style the lush, unfurled phrasing of jazz ballads. In that way she is as close to Madeleine Peyroux as she is Mary Gauthier. Regardless of how fits into Jones’ peer set, Better Times Will Come addresses the listener with the same clear-eyed honesty as the woman on the album cover. In the best possible way, this is grown-up music: it cherishes wisdom, character and patience over trends and instant gratification.