In August 2019, Tedeschi Trucks Band performed “Layla and Other Assorted Love Songs” — the 1970 double album by Eric Clapton’s group Derek and the Dominos — in its entirety at the Lockn’ Festival in Virginia.

The record is particularly meaningful to the married couple at the heart of Tedeschi Trucks: Derek Trucks (whose name was inspired by the Dominos) had played much of the material as a member of Clapton’s touring band; the second lead guitarist on the recordings was Duane Allman, founder of the Allman Brothers Band, in which Trucks played for 15 years with his uncle, Butch, on drums. Susan Tedeschi, meanwhile, was born on the very day the album was released.

When the pandemic struck seven months later, the 12 members of the hard-touring Tedeschi Trucks Band were scattered and stuck at home for an indefinite future, so the guitarist and vocalist Mike Mattison suggested they all read something together and see what ideas or inspiration it might spark. The text he proposed was the 12th century Persian poem “Layla and Majnun,” which gave the beloved album its title and central theme of unrequited love. Clapton likened the epic narrative to his own infatuation with Pattie Boyd, the wife of his best friend, George Harrison.

The group, which blends Americana, roots- and blues-rock, had never used this kind of writing prompt, never tried to write in such a directed fashion. But as the lockdown dragged on, the exercise unleashed a wild creative outburst, eventually leading to 24 new songs, which were released over the summer as a series of four albums titled “I Am the Moon,” each with its own companion film. The final installment, subtitled “Farewell,” came out earlier this month, along with a boxed set that encompasses the entire project.

“It was a hard reset for us,” Trucks said in a recent telephone call from the home that he, Tedeschi, and their two children share in Jacksonville, Fla. “Between that music being so important to us personally and the amount of isolation and madness in the story, it seemed to resonate with us and with the whole world in a lot of ways.”

In a separate call, Tedeschi pointed to the parallels between the scope of the poem and the past few years. “Here’s all of us in isolation, at home, contemplating everything that’s going on,” she said. “And you have Layla and Majnun, who are separated, and he’s out in the desert by himself, going mad and losing his mental health. She’s locked away in a tower and can’t be with the person she wants to be with. And her dad and these other men basically tell her what she can do — we haven’t really come that far since the 12th century. So it seemed like we could go in a hundred different directions, but still be coming from that same source.”

Starting this Thursday, the material from “I Am the Moon” — much of it being played live for the first time — will be the centerpiece of a seven-show stand by Tedeschi Trucks Band at the Beacon Theater, the 11th time in their career that the group will perform a multiple-night run at the Upper West Side landmark. (The Oct. 3 show will mark their 50th appearance at the venue.) It’s an extension of a tradition started by the Allman Brothers, who played more than 230 shows at the Beacon over 25 years, a familiar setting for the freewheeling, Grammy-winning ensemble to settle in and stretch out.

Trucks, 43, has influences that extend far beyond American roots music into Indian and Eastern styles and avant-garde jazz (two installments of the “I Am the Moon” series have subtitles, “Crescent” and “Ascension,” borrowed from John Coltrane album titles). He joined the Rock & Roll Hall of Fame Allman Brothers Band in 1999, before turning 20.

Tedeschi, 51, came up in Boston as more of a straight-ahead blues player. She has six Grammy nominations of her own, and as a solo act, opened for the Rolling Stones and Bob Dylan. The couple were married in 2001 and, after touring together as the Soul Stew Revival, they merged their groups into Tedeschi Trucks Band in 2010.

“Susan and Derek both always seem to go to the place you want to go when playing music, and the whole band is with them at every step,” Norah Jones wrote in an email. “It’s that magical space above the norm that only can exist when one is open to a true musical exchange onstage. Everyone appreciates what everyone else is doing and it’s obvious. And the way Susan’s voice slices through the huge sound of the band and just soars is unreal.”

There’s often been a sense, though, that the band’s recordings haven’t matched what they’re capable of onstage. “That’s kind of been the rap on our group,” Mattison said, “that we’re a great touring band and a great live band and when it comes time to do an album, we kind of go, ‘Oh, what are we going to do?’ The creative part, generating songs and things, has always kind of been an afterthought, but this time it was really intentional. At first, we didn’t quite know how to do it, but it took it on its own logic and started fueling itself.”

Tesechi and Trucks agreed that diving into the themes of “Layla and Majnun” had an impact beyond the music, forcing them to think harder about their own marriage and relationships. “It actually made us stronger, and made us better listeners to each other,” Tedeschi said. “It made us incredibly thankful for our band, and for each other and our kids, but at the same time, it made you see the weaknesses and the strengths, and start working on the things that you have to work on. I think it was a healing thing for all of us.”

Trucks went further. “I think it kind of saved the band,” he said, pausing for the screeching sound of a hawk fight happening overhead. “I’m not really sure what we would have done if we had come out of the pandemic without new material and a new outlook. I’m not sure how long we would have just plugged away, business as usual.”

Bringing the “I Am the Moon” material and this re-energized attitude to the Beacon residency comes with both excitement and a certain degree of pressure. “The Beacon is home turf in a lot of ways, but it’s always a little bit intimidating because there’s so much history there,” Trucks said.

“Every one of those dressing rooms I have memories in, whether it’s our son, Charlie, being there when he was 10 or 12 days old or introducing Gregg and Butch to our kids,” he added, referring to Allman and his uncle. “There’s not many corners I can turn in the Beacon where some image doesn’t come to mind of important moments in my life — and lately, a lot of times that’s with people that aren’t here anymore, so you feel those ghosts.”

Extended stays in one city (the band also does annual shows at the Chicago Theater) often lead to surprise guests or unexpected song choices. “I don’t know exactly what’s going to happen,” Tedeschi said, “but that’s kind of the fun of it. I’m going to call up some of my friends and see who shows up.”

Trucks notes, however, that even before adding any other elements to the Beacon shows, the dozen or so songs from “I Am the Moon” that they still needed to rehearse would make things unpredictable enough. “When you’re doing seven nights, it forces you to dig deep,” he said. “But this year, we have so much new material, there’s already a built-in to-do list. We’re already on the high wire.”