Big Head Todd and the Monsters going strong after nearly four decades

“We consider ourselves a rock ’n’ roll band, which means that we borrow from a lot of different types of music and traditions,” frontman Todd Park Mohr said of a group that’s maintained the same core lineup — Mohr on vocals and guitar, Rob Squires on bass and Brian Nevin on drums — since the beginning of their career. In 2003, the band welcomed keyboardist Jeremy Lawton, who band members still call “the new guy,” expanding the band’s sound while maintaining the chemistry that has defined its music for decades.

And while the group has spent significant amounts of time on the jam-band festival circuit, the band’s recently released album “Her Way Out” is a concise and catchy collection of rock tunes that suggests early Tom Petty more than the Grateful Dead.

Granted, Mohr’s solo on the track, “Twice as Bright,” does have a trace of the Dead’s Jerry Garcia to it, but more often than not, he favors shorter, more impactful solos that serve the songs rather than overshadowing them. It’s an approach that’s allowed the band to balance its jam-oriented tendencies with radio-friendly tracks.

Mohr’s musical journey began with piano and saxophone before he found his true calling with the guitar. His playing was influenced by great blues guitarists like Albert King, B.B. King and Albert Collins, as well as Stevie Ray Vaughan, whom he says had a huge impact on his generation of players.

“I got to see him twice and meet him once,” Mohr said with fanboylike enthusiasm.

Mohr’s songwriting, meanwhile, leans more toward storytelling than personal sentiments. “I’m not a writer who emotes about myself,” he said. “I just love writing from the particular point of view of a real person who’s trapped in a real situation, where there’s a clear story to be told and I do the best I can to tell it.”

A case in point on the new album is “Don’t Kill Me Tonight,” a song about sharpshooter Annie Oakley, who was known for performances in which she shot a cigarette out of the hand of her husband, Frank Butler. Mohr looks at the story from Butler’s point of view:

“Hey please don’t kill me tonight/ Over something I might have said this morning/ May your bullet see the light/ Of my cigarette and send this crowd a-roaring/ Annie I love you/ I’d die for you”

Mohr cites Bob Dylan and Bruce Springsteen as artists who’ve influenced his songwriting. He’s also deeply indebted to the blues tradition, which he admires for its use of double- and triple-entendres, conveying multiple meanings simultaneously while adding depth and complexity to seemingly simple phrases.

But that’s nothing compared to the group’s first gig at a Red Rocks blues festival, where Albert King invited Mohr onstage to play with him and his band. “I was so nervous about that,” Mohr recalled. “I was sort of self-taught with guitar and started out with a lot of bad habits and a lot of limitations. But he was really kind and encouraging to me.”

Another brush with blues stardom came when the band was recording its “Beautiful World” album with Talking Heads’ Jerry Harrison producing. “He saw us play John Lee Hooker’s ‘Boom Boom’ live, and he kept insisting we put it on the record,” Mohr said. “We refused for a while, and then he said, ‘Well, what if I can get John Lee to come in and do it with you?’ And we were like, ‘Oh yeah, of course we will!’” And it became one of our most popular songs.”

It also brought the band the distinction of being the only group in the known universe to have recorded both Hooker’s signature song about homicide and the ‘70s act Looking Glass’ pop ballad “Brandy (You’re a Fine Girl)” — two songs that could hardly be more different.

Mohr speaks passionately about the importance of honoring the past rather than focusing solely on novelty or individual accomplishment. “It’s about celebrating the mentors and the tradition,” he said, “And it’s less about, you know, ‘I’m the new guy, look at me and what I can do.‘”

Despite the band’s name, Mohr remains as unpretentious as musicians get. While some view YouTube as a platform for becoming rich and famous, Mohr sees it as a way to improve his craft.

“Over the past, I’d say, seven or eight years, YouTube has just flourished with guitar instruction, and it’s really rejuvenated me as a guitarist,” he said. “There’s just so much that I’ve learned from other players and from online instruction. It’s a universe of learning. So I’m still, you know, working on my posture and the position of my thumb, stuff like that. But I’ve learned a lot about theory and scales and a lot about the fretboard, which I think has really helped me to become a more fulsome solo player.”

Meanwhile, Big Head Todd & The Monsters show no signs of slowing down. The band’s current tour promises the kind of high-energy, soulful performances that have become its hallmark. And yes, if recent shows are any indication, the band will play both “Boom Boom” and “Brandy.”

“We know a lot of songs,” Mohr said, “and we’re good entertainers.”

If you go

8 p.m. Friday. $39.50-$65. Variety Playhouse, 1099 Euclid Ave. NE, Atlanta. 404-524-7354, variety-playhouse.com