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In the late 1980s, Mr. McReynolds toured and recorded with the Masters, a bluegrass supergroup that included the fiddler Kenny Baker, the dobro player Josh Graves and the banjo player and guitarist Eddie Adcock.

His scuffed-up hands, the way he smoked his cigarettes, the gleaming silver of his dobro guitar, his habit of showing up on a Harley every five years with a new girl on the back.

“Dad told me that Dylan picked up a dobro and was swinging it around in a circle over his head,” Luther Dickinson says with a laugh.

Mr. Oelze adorned it with several emblems of the club’s past: a statue of deceased doorman William Edwin “Pudge” Tarbett in the dance hall and a mural of the dobro played by the Seldom Scene’s Mike Auldridge on the outer wall.

Under the spell of their perfectly tuned consonance, accentuated by banjo, dobro and accordion, we were transported to another time, and another way of living, where appreciation for the music is shown with yips and yahoos, boot stomps on the‌ floor‌, or a wave of a Stetson hat.