When Darrell Scott sings, “We won’t give a damn if it’s rock, folk, country or blues,” he may as well be singing about a Darrell Scott audience.

The line came up as Scott filled a fan’s request for “Down to the River” in the intimate confines of Natalie’s Grandview during his April 17 (almost) solo performance in Columbus, Ohio.

The song appeared late in the first set before a near-capacity crowd in Natalie’s Music Hall venue. Looking as if he’d just rollled out of bed, though he’d just rolled in from Scott Holler in Kentucky, with a shock of salt-and-pepper hair standing straight up on his head and sporting black jeans and a colorful, Southwestern work shirt, Scott touched on all the aforementioned genres before pulling a glorious surprise in set No. 2.

“River” was country on acoustic guitar with namechecks of Townes Van Zandt, Guy Clark and others. “Long Time Gone,” the song Scott wrote for the Chicks, was rock – acoustic rock; the electric rock came packed inside Van Zandt’s “White Freightliner Blues.”

Folk arrived in the form of the love-gone-bad ballad “Long Wide Open Road,” another request granted. And Scott delivered the electric blues on “You’ll Never Leave Harlan Alive,” whose drop-D tuning inspired the musician to tack on the jazzy instrumental “Alton Air” to foreshadow what was to come.

“And the sun comes up about 10 in the morning/and the sun goes down about 3 in the day/and you fill your cup with whatever bitter brew you’re drinking/and spend your life digging coal from the bottom of your grave,” Scott sung of his native Kentucky, his 65-year-old voice still capable of moaning low and crying high in quick succession.

For the final 50 minutes, Scott was accompanied by flautist, saxophonist and vocalist Gina Sobel, who added color, improv, darkness and light to a nightcap set that began with the Dixieland shades of “Head South,” paired with its sonic cousin “The Ballad of Martha White.”

Soon, they entered a jazz club for “Fool about You“ before emerging into the early light of “Six O’Clock in the Morning.”

“I bet you weren’t expecting that,” Scott said – accurately – at one point.

Sobel, whom Scott befriended after she asked to sit in a few years back, immediately won over the audience with her sympathetic playing and harmonious background vocals.

Scott was solo for the encore, “Uncle Lloyd,” which ended with the musician slowly fading out his guitar with a pedal. And with that, the music gave way to stunned silence, which gave way to a standing ovation.

The moral of this story? Never miss a Darrell Scott show – Sunday, Thursday or otherwise.