After opening for Chris Stapleton in Rupp, this artist is bringing his solo tour to Lexington.

Brent Cobb/Adam Hood

9 p.m. March 29 at Cosmic Charlie’s, 105 W. Loudon Ave. $15-$18. 859-475-6096. cosmic-charlies.com, brentcobbmusic.com.

One of the reasons Chris Stapleton’s concert at Rupp Arena last October was one of the strongest country music bills in recent memory had to do with the company he employed.

Along with a sterling set from veteran traditionalist Marty Stuart, the show sported a splendid opening performance by Brent Cobb. Aside from blending together Southern-infused works like “Diggin’ Holes,” “Down in the Gulley” and the country-funk manifesto “If I Don’t See Ya,” Cobb honored the Kentucky country contingency he was playing to with a rustic cover of Dwight Yoakam’s “Guitars, Cadillacs.” He also returned later in the evening to serve up a suitably world weary “Might As Well Get Stoned” with Stapleton.

That followed an acoustic in-store show that afternoon at CD Central where songs from Cobb’s 2018 “Providence Canyon” (the newest of three solo albums produced by the artist’s Grammy winning cousin, Dave Cobb) were presented as stark but playfully contemplative rural country snapshots.

Add in Cobb’s stellar Saturday afternoon set at last summer’s Forecastle festival and you start getting the idea this Georgia-born song stylist feels quite at home in the Bluegrass.

The Kentucky connection will continue this weekend with Cobb returning to Lexington for a headlining date of his own at the new Loudon Avenue location of Cosmic Charlie’s.

Get to this performance early. Alabama songsmith Adam Hood, who has penned tunes for Miranda Lambert and Little Big Town, but favors a more rustic and reflective tone for the music he releases under his own name, will open. Cobb had often collaborated with Hood, the most recent instance being “She Don’t Love Me,” a Southern soaked saga of romantic disparagement from the 2018 album “Somewhere in Between.”

Boneshaker/Timothee Quost

7 p.m. March 29 at the Kentucky for Kentucky Fun Mall, 720 Bryan Ave. Free. marswilliams.com/boneshaker.

Want to cover the musical bases within the same so-to-speak ballpark this weekend? Then make an evening of it on Friday over on the North Side. Plan on concluding your evening with Brent Cobb at Cosmic Charlie’s on Loudon but start it at the Kentucky for Kentucky Fun Mall on Bryan Avenue with a sound that couldn’t be more removed from new generation country and Americana.

On hand will be a scalding indie jazz trio out of Chicago led by saxophonist Mars Williams called Boneshaker. Williams has an especially curious performance history with Lexington as his initial appearances here weren’t with the many indie jazz and improvisational music artists from Chicago that have played here as part of the ongoing Outside the Spotlight series but as a member of the veteran pop unit Psychedelic Furs.

On his own, though, Williams is a ferocious player with an almost atomic level of instrumental intensity that matches his sense of musical invention. Among his most intriguing projects recently have been the two editions of “An Ayler Christmas,” recordings of holiday music played through the spiritual guise of the late renegade saxophonist Albert Ayler.

Williams has performed for the OTS series before in a duo configuration as well as part of Ken Vandermark’s battalion-sized Audio One band. But Boneshaker is a more contained beast, offering trio blasts of free jazz-inspired romps full of volcanic intensity and immediacy.

Boneshaker will be rounded out by two OTS regulars – bassist Kent Kessler (whose connections to the series extend back to an inaugural concert in 2002 as part of the Peter Brotzmann Chicago Tentet) and drummer Paal Nilssen-Love (who has performed for OTS in a dozen or more duo, trio and ensemble settings, including his own globally-designed, 14 member Large Unit).

Boneshaker’s Lexington performance this weekend is part of a three-week tour to promote the newly released “Fake Music” album. French improviser, composer and trumpeter Timothee Quost will open.

The week that was

▪ Los Lonely Boys at the Lyric Theatre and Cultural Arts Center: The club shows that introduced Los Lonely Boys to Lexington some 15 years ago were exhibitions of bluesy, electric exuberance – three brothers out of San Angelo, Texas serving up hearty power trio guitar rock with the spirits of Jimi Hendrix and Stevie Ray Vaughan never far from view. What it perhaps lacked then in invention it compensated for with boundless performance vigor.

Last week, before a sold out crowd at the Lyric, the brothers Garza – guitarist Henry, six-string bassist Jojo and drummer Ringo (seriously, that his name) – delivered a set that, if anything, packed an even greater sense of affirmation and energy. But the difference this time was how securely the trio had found its rock, blues and soul sea legs.

The Garzas threw down their psychedelic cards at the show’s onset by opening with a searing cover of Creedence Clearwater Revival’s “Born on the Bayou.” Henry Garza tugged the tune’s killer bayou guitar riff over to Texas terrain while brother Jojo added a rich, rootsy vocal shout and an occasional borderline shift in the lyrics (“I can still hear my chihuahua barking”).

Henry and Jojo split lead vocal duties as the program tore through four consecutive tunes from the most recent Los Lonely Boys album, 2014’s “Revelation.” “Don’t Walk Away” and “Blame It on Love” incorporated just enough of a pop flourish (especially within the percussive Latin strut of the latter) to make Los Lonely Boys sound vastly more orchestrated than a conventional power trio. Ditto for the funk accents, especially within Jojo’s bass work, that fueled “Give a Little More” and the conga-flavored groove underscoring “So Sensual.”

The band’s breakthrough 2004 hit “Heaven” concluded the evening with 15-year-old guitarist Ringo Garza Jr (the drummer’s son) helping his dad and uncles enhance the tune’s inherent pop/soul vibe.

It was a telling moment, as the three elder Garzas all got their professional start under the tutelage of their father. Sewing a family thread into music that has only grown richer over time enforced the only false attribute about Los Lonely Boys – its name. The communal spirit revealed here was way too fun and inviting for anyone at the Lyric to feel like they were even remotely alone.