Betty & The BoyCourtesy Todd Cooper

Betty & The Boy has long hung around the fringe of Central Oregon’s music scene, traveling over from their hometown of Eugene to play occasionally — at portello, The Horned Hand, McMenamins and various festivals — but never wearing out their welcome, as valley bands tend to do when they find an audience here.

Now, the group will move onto, you could argue, Bend’s main stage — the Tower Theatre, smack dab in the middle of downtown — for an album-release celebration Saturday night.

In a way, Betty & The Boy’s relationship with our region is an apt analog to the band’s new album, “The Wreckage,” a marvelous collection of low-key acoustic songs that may or may not knock you over when you first hear them, but will certainly endear themselves to you upon repeated listens.

Across its 12 tracks, Betty & The Boy seems to have self-actualized. No longer is frontwoman Bettreena Jaeger’s voice an all-encompassing focal point, though it is still a beautiful, smoky alto.

Now it is surrounded by excellent songs and a crack band to pull them off. Tunes like “To Sleep Alone,” “Higher Ground” and “Poppies” are slow-burning wonders, where the air around the notes are as vital as the notes themselves. Here, Betty & The Boy shows impressive restraint.

Meanwhile, “The Waltz” is a jaunty, um, waltz that’s elegantly fun and a showcase for Jaeger’s backing string section. And the seamless fusion of melody and technique in songs like “Building It Up” and “Silos & Smokestacks,” which features the vocals of multi-instrumentalist Josh Harvey, recall Nickel Creek, if Nickel Creek smiled more often. “You May Find Me” is darn near an old-school bluegrass breakdown.

Top to bottom, “The Wreckage” is a striking example of what can happen when a band combines solid songs and top-notch chops, tastefully. It’s also going to sound terrific inside the Tower.

Betty & The Boy; 7:30 p.m. Saturday; $20 plus fees, available through the venue; Tower Theatre, 835 N.W. Wall St., Bend; www.towertheatre.org or 541-317-0700.

— Ben Salmon