On Thursday night, Gregory Alan Isakov performed a well-attended show at the Old Rock House. Behind him stood a projected, sepia-tinged, photo depicting a rural youth listening intently to a large, conical, medieval-looking, horn-shaped hearing device.

Anders Osborne has reinvented himself many times before, but given the way his life and career are going these days, he'd rather keep things just way they are for a while.

Though he can tear up a juke joint every time he plugs in his Stratocaster, the true power and subtlety of Lloyd Jones' blues shines through when he's sitting down with just a microphone and an acoustic guitar.

The Heavy Anchor played host to a simmer-down-and-listen type of show on Saturday Night. In a closely confined and intimate room, Frontier Ruckus put on a mysteriously inviting performance.

Part John Prine, part Dylan, part lonely cowboy swilling whiskey out on a moonlit prairie, Jeffrey Foucault has a chameleonic sound. This quality enhances the troubadour's grace and emboldens the emotional power of the music.

There are a million tired clichés that can be used to describe singer-songwriters. Tuesday evening at the Old Rock House Dar Williams put on a performance that was neither tired nor clichéd.

To embark on a solo career after being part of a successful group for a number of years is a daunting task. Nevertheless, Sara Watkins seems to be making a smooth transition.

Brothers Lazaroff
"Science Won"
Self-released

Brothers Lazaroff are ever-evolving. From their Austin-inspired alt-country beginnings, they've added new layers of other forms of American music with each album.

Throughout a career that has spanned nearly three decades, Toronto's Cowboy Junkies have maintained the same raw emotional resonance that was present on their now classic 1987 release, "The Trinity Session."

Few contemporary folk musicians seek out new sounds and audiences like Abigail Washburn. From her Chinese sojourns to her indie rock fusions, she always sets the old-time clock forward.

Even with the transplant status of several band members and a few stints living abroad, the Head and the Heart have put down deep Seattle roots.

There's something in the music of Seattle's the Head and the Heart that brings on a wash of nostalgia and emotion: sepia-toned memories of rivers and fields, lilting three-part harmonies and saloon piano chords.

Philadelphia's Denison Witmer opened with a set of introspective tunes concerned with self-study and literary metaphors. After a few minutes of self-deprecation about his height, Witmer slipped into "Light on My Face" from 2012's "The Ones Who Wait." The track stood out as a meticulous ode to love and careful passion. Here, Witmer, with his slight nasal rasp, conjured the solo work of Get Up Kids lead singer Matthew Pryor.

Lights, the nom de music of Valerie Poxleitner, is most often associated with the electronic-pop of artists like Owl City and Björk. But even with just an acoustic guitar, Lights still shines brightly.

Delta Spirit has a reputation for no-holds-barred rock 'n' roll. And that notoriety just makes this intimate, solo acoustic set with singer and songwriter Matt Vasquez all the more powerful.

The music of Rolie Polie Guacamole is all about interaction. With jumping rhythms and clever songwriting -- hey, kids are smart -- the group turns every song into a crazed, full-body aerobics workout.

"Rotten Taters"
Mike Compton
Self-released

"Rotten Taters" is, unbelievably, the first solo release from a mandolinist that, despite playing Carnegie Hall and the White House, simply should be more widely known than he is.

St. Louis is known for its hearty Irish and Americana music scenes, but no group in town bridges the gap like Joe Stickley and Sean Canan.

Whitehorse may be a new band, but its passionate take on gospel, country and early rock 'n' roll has already hit its stride.

Last night at the Old Rock House, Andy Mckee's exhilarating performance gave fans a sense of awe for both what can be played and composed on a guitar. It was incredible to see harmony, percussion and melody all come from the same instrument and person.

Punch Brothers
"Who's Feeling Young Now?"
Nonesuch

"Who's Feeling Young Now?" will prove to be one of the most respected, lauded, challenging and influential works of the year. But that doesn't mean you'll like it.

With the unruly fervor of foot stomping and string picking, the Hackensaw Boys stir new life into Americana music and songwriting.

Elizabeth Mitchell says she's plays "all ages folk music." That's about right, as her graceful way with universal sounds and themes often sounds timeless.

I See Hawks in L.A. is a country-rock band from, yes, Los Angeles, where country rock was born. Heading into their second decade together, the band has finally made the acoustic record they always hoped to make.

As the audience roared and gave Los Lobos a standing ovation, guitarist Cesar Rosas joked, "You know we're Los Lobos? Not Los Lonely Boys right?" The St. Louis crowd, fully aware of who they were about to see, were genuinely thrilled and the air filled with electricity.