At 72, John McEuen is showing no signs of slowing down. In fact, he’s ramping up.

With his 2016 studio album “Made in Brooklyn” earning praise from critics and a nomination for an Independent Music Award for Americana Album of the Year, McEuen has found his solo show in high demand in recent years. The California-born multi-instrumentalist, best known for his work with 1970s country-folk-bluegrass hybrid Nitty Gritty Dirt Band, hit the road this week for a West Coast tour with his solo group, and will be at the Tower Theatre on Sunday.

Demand has been so high that in October, McEuen left the Nitty Gritty Dirt Band for the second time, following the band’s 50th anniversary tour. He had rejoined in 2001 after a 15-year hiatus from the group that brought him to the national stage in the ’70s thanks to singles such as “Mr. Bojangles” and albums such as “Will the Circle Be Unbroken.”

But while McEuen kept up a steady stream of solo albums, projects and tours during the next 17 years, the Dirt Band seemed to stagnate. It played the same 18 songs at every show for the last decade-plus, McEuen said. The group’s last original album, “Speed of Life,” was released in 2009 and featured only two writing contributions from McEuen. As he’s revealed in past interviews (and reiterated to GO! Magazine during a recent conversation), he was voted out of the band’s corporation a few years back.

“Let me put it this way: I took the Nitty Gritty Dirt Band as far as I could using the things that I could do within it, playing with the other guys, but it didn’t — it wasn’t reciprocal,” he said from his home in Bradenton, Florida. “I couldn’t do everything I could do. It’s hard to figure out how to say this, it still is. I had more ideas that I wanted to incorporate both onstage and on recordings than I was able to execute within the band structure.”

It’s not surprising that McEuen is shaking things up with his current show, which loosely follows his life story from the Dirt Band’s early years through “Made in Brooklyn.” Along with rare Dirt Band tracks and bluegrass standards, the show keeps a heavy emphasis on 1972’s “Will the Circle Be Unbroken,” notable for uniting two generations of musicians — the hippies in the Dirt Band and bluegrass and country stalwarts such as Maybelle Carter, Jimmy Martin, Doc Watson and Merle Travis. The music is supplemented with video and photos from the “Circle” recording sessions and other moments from the Dirt Band’s past.

Despite the show’s structure, and in contrast to the Dirt Band’s recent shows with McEuen, the set list remains open each night. McEuen and the band — upright bassist Les Thompson (a fellow original NGDB member), guitarist/mandola player/vocalist Matt Cartsonis and guitarist Matt Cable (another NGDB alumnus), plus blues guitarist and vocalist Mary Flower for the Oregon dates — will switch things up with new songs, jamming and different instrumentation.

“I try to communicate that feeling that we’re sitting in your living room ripping off a bunch of good notes and songs that people like, with not really adhering to a precise pattern — keeping it exciting for ourselves,” McEuen said.

McEuen could be describing the live-in-studio recording sessions for “Circle,” which kicked off when he invited Earl Scruggs to record with his band.

“I asked him to record with us one night in Colorado, and he said, ‘I’d be proud to,’” McEuen said. “And a week later, it’s like, oh my God, Doc Watson’s at the same club; I’m gonna ask him — and he said yes. And then my brother (band manager William McEuen) asked Merle Travis, and he said yes. We didn’t have an album that we were making yet; we just had some people that said yes. And then I asked Earl if he could get Jimmy Martin, and Jimmy Martin said yes. Then we told the band about the other guys, and one guy said, ‘Who’s Jimmy Martin?’ Actually, two guys said that. I said, ‘You’ll find out.’”

“Made in Brooklyn” brings the story full circle. Like the 1972 album, it unites McEuen with a cast of Americana heavyweights including David Bromberg, Johnny Cash’s son John Carter Cash, Jay Ungar, New Grass Revival’s John Cowan and more.

“My favorite comment has been from people that say, ‘When I got done playing this album, I couldn’t remember what I’d heard, so I had to go back and start over,’” McEuen said. “Because I wanted to make an album that had different textures and different types of songs, with not any one type of music.”