Despite his classic rock pedigree, Dickey Betts and his band still projected an impressive energy at Cervantes on Saturday. Photo from tabfest.com.

Dickey Betts and his six-man band throttled a surprisingly youthful crowd at Cervantes Saturday, delivering a somewhat predictable but overwhelmingly sultry display of southern rock. With his trademark brim and sleeveless jean jacket, the amply inked Betts milked his six string with soulful aplomb, gently building into giant apexes that embraced his always eager fans.

Flanked by slide-fingered Andy Aledort on a hollow body and son Duane — an emerging six-string protégé with the mantelpiece first name — Betts’ Great Southern band is a three-cannon blast of southern guitar, not unlike the Allman Brothers Band that gave rise to a young Betts so many moons ago.

While his days with Gregg and crew are long gone, Betts has built a reliable doppelganger, anchored with scorching guitar and a stunningly funky Pedro Arevalo on bass. The drumming duo of Frankie Lombardi and James Varnado round out that undeniably Allmans sound with double-barreled beats.

Mike Kach steps above and beyond on the Hammond B-3, leaning more toward vagrant jazz jams than typical Allman-esque keywork. Kach’s finesse on “Elizabeth Reed” late in the second set revealed a patient keyman exploring and expanding an imperial tune.

During the eight-song first set — which was highlighted with not-too-long instrumentals, weighty guitar jams and growling vocals — Kach moved seamlessly between his organ and piano. Duane Betts played a sort of third-fiddle, spending his time dutifully building a solid foundation from which his dad and Aledort would jettison into extravagant, creamy solos. Still, he had his moments. Duane’s “Long Time Gone,” proved he has inherited his father’s songwriting skills, with a beautifully crafted tune.

In fact, all six musicians in the Great Southern bowed to the patriarchal Betts. Their work was carefully sculpted to provide the grizzled veteran with any space and sound he might need to find his muse. And, whoa, when he did, it was scorching.

From “Statesboro Blues” to the unexpected (and glorious) “Franklin’s Tower” jam leading into “Blue Sky” in the first set to the fiery second set opener “One Way Out” and closer “Nobody Left to Run With,” Betts reveled in his prowess, nimbly cajoling a full house into a mass frolic.

Follow Reverb on Twitter! Here!

Jason Blevins is a strange dancer, but that has never stopped him.