When Dan Deacon makes music, he likes to think about more than just the individual notes and their complex arrangements. These days, the local musician often finds himself bouncing between writing his signature electronic music, full-length solo albums, and intricate, acclaimed film scores—each approach influencing the way he thinks about the next, leaving him to ponder big questions.

Like, “What is the role of an album, or a concert, or a score? And how and where are people going to listen to it?” poses Deacon. “When you’re at home listening to music, it’s like furniture—it enhances the living experience. When you go to a show, it’s like theater—you’re supposed to watch and become immersed into another world. With film, the score helps keep you within a specific universe. . . . It’s like when you make a meal. You think of who’s coming to dinner, where you’re eating it, if it’s a fancy dinner or a casual get-together or a pot-luck.”

Big things to think about on the eve of a feast: his debut performance at the Joseph Meyerhoff Symphony Hall as part of BSO Pulse, the innovative concert series, now in its fourth season, that pairs indie musicians with the Baltimore Symphony Orchestra. Pulse has featured other notable performances by Baltimore acts, such as Lower Dens and Wye Oak, but as a founding father of the city’s DIY music scene, Deacon’s performance feels like the series’ pinnacle.

“Thinking about that gigantic stage, in an acoustically perfect room, how to fill out the space and find a way to utilize the seated audience in a beautiful way—it became very exciting to think about all the possibilities,” says Deacon, calling the whole thing a big experiment. “We’ll see on Thursday night.”

At the same time, for a classically trained composer who studied musical composition with a computer music concentration at SUNY Purchase in New York, performing with a full orchestra is a sort of capstone as well. The average listener might not know it, but Deacon’s music has long been influenced by his education—though “I never really had any interest in 18th- or 19th-century music”—with his early albums inspired by minimalist composers such as Philip Glass, Steve Reich, and Terry Riley, featuring both orchestral arrangements and multi-part suites. It seems as if his entire career has been building toward a moment like this—each record growing in vision and virtuosity, from exuberant party-starters to avant-garde opuses.

The Meyerhoff is a far cry from the warehouse venues that Deacon first performed upon arriving in Baltimore some 15 years ago, but he’s no stranger to hallowed stages, either, having performed at Carnegie Hall in New York and the Waterloo Symphony in Canada. (His music has also been adopted by the New York City Ballet.) But this will be the first time the musician will be sitting down to play alongside a full philharmonic orchestra.

Co-hosted by WTMD, the Pulse performance will begin with a set by the BSO (including classics by Sebastian Bach and Erik Satie and a contemporary work by Du Yun), followed by a solo set from Deacon (including a few tracks from his 2015 Gliss Riffer), concluded by a collaborative set with both acts. For the main event, Deacon will also include his own 24-person ensemble, which he has performed with in past shows and on previous records, featuring instrumental arrangements by local composer Patrick McMinn, as well as a new vocal choir, featuring vocal arrangements by Allison Clendaniel of experimental classical music collective Mind On Fire. In total, there will be more than 40 musicians on stage.

“The whole spirit of the night is about the Venn diagram of what we [Deacon and the BSO] both do while also being willing to reach into the other side,” he says. “These shows take so much work—months. You could fill a wing of the Enoch Pratt with just the emails. We’re not just showing up and setting up our equipment. Everything about this night is from the ground up.”

“Working with Dan has already been a hugely rewarding collaboration,” says associate BSO conductor Nicholas Hersh. “The [final set] will truly be the centerpiece of the show, much more extensive and integrated than in past Pulse programs. We are all ridiculously excited to take on this challenge and witness months of preparation come to fruition.”

Both locally and internationally, Deacon has become known for his infectious live shows that typically incite some sort of interactive dance-off among the audience. If you attended his performance at Space 2640 to commemorate the 10th anniversary of his debut Spiderman of the Rings in 2017, you know what we’re talking about. (If not, just watch his NPR Tiny Desk concert to see what we mean.) Of course, this creates a predicament in a 2,443-seat symphony hall that commonly draws an older crowd. That grand, gilded room will play host to only the second seated show Deacon has ever performed in Baltimore, counting the Windjammer concert with Future Islands and Beach House at Pier Six as his first.

But during their collaborative set, Deacon and the BSO will be performing “Pink Batman” and “Snookered” from 2007’s Spiderman of the Rings and 2009’s Bromst, respectively, as well as his lush four-part suite “USA” from 2012’s America and a world premiere of a new work. “To me, you’d listen to all of those pieces sitting down,” says Deacon. “I don’t want people to feel like sitting is bad. I love sitting. With 40-plus musicians on stage, there’s just going to be a lot to look at, a lot to take in. I’m just imagining myself sitting in a chair in that room, which is so rich, in and of itself, hearing that sound from the stage, and having it bounce off the walls, and the ceiling above me.”

But he hasn’t ruled anything out: “I can’t help myself. I have no idea what I’ll do.”

Since moving to Baltimore after college in 2004, when he helped found the Wham City arts collective at the Copycat Building in Station North, Deacon has fostered a sense of creative freedom and community in this city, across a wide mix of artists and genres. After seven records, international tours, and opening sets for the likes of Arcade Fire and Miley Cyrus, Deacon still calls the city home and continues to support both old friends and up-and-coming artists. Last year, he curated the lighting during an Abdu Ali show at the Metro Gallery; celebrated the release of Riddles, the acclaimed new album by local post-punk duo Ed Schrader’s Music Beat, which he co-wrote and produced; and headlined the Believe In Music Halloween party at the Maryland Science Center.

Today, he sees the local music scene much “how I’ve always seen it, which is just full of amazing, incredible talent,” he says. “It’s a really driven and diverse ecosystem. The hardest part is getting anyone from outside of town to pay attention. But I feel like that’s changing. I just wish there were more venues and opportunities for people to play in front of larger audiences . . . But that’s what makes this show so special—it opens up the door to people who wouldn’t normally be in a space like this, and I hope they continue the series and open it up to more Baltimore artists.”

That altruistic ethos is embodied in the evening’s pre-show lineup, where Deacon has asked a handful of local artists to be part of a special performance, with five solo sets by saxophone player Jamal Moore, electronic artists Amy Reid and Alex Silva, and experimental musicians Amanda Schmidt and Stewart Mostofsky taking place simultaneously in the Meyerhoff lobby starting at 7 p.m.

Of course, this performance comes just two days after the expiration of the BSO’s contract negotiations between players and the administration, which aims to reduce the symphony’s schedule, effectively eliminating the summer season and decreasing musician salaries. The move has the potential to demote the “full-time, world-class orchestra into a part-time regional orchestra,” according to a statement from the musicians.

“I just want to state that I back the players entirely and support what they are putting themselves on the line for,” says Deacon. “Imagine if the Baltimore Museum of Art closed for a significant portion of the year, having wings closed and the art shifted out. When you think about it in any other context, it’s clearly a massive mistake. Imagining Baltimore without the BSO would be a shame.”

For him, after the show, he’s back to work, finishing up two more film scores and a new record—his eighth—by this spring. But for now, he’s looking forward to Thursday night, to the very moment when the show begins.

“The whole point is to be completely and utterly present—to kind of forget that time is moving,” says Deacon, an artist whose mind is in constant motion—thinking, assessing, reassessing, connecting dots, breaking them apart again—a visionary composer, and a benevolent conductor of the Baltimore music scene after all these years. “Much of the show will be the orchestra and the ensemble and all the players, so I can step back a little bit more than usual and just be.”

Visual Art

Raoul Middleman: Watercolors & Monoprints
An artist’s passions are explored with frenetic mono-prints and impressionist watercolors in this new show from Baltimore native Raoul Middleman at C. Grimaldis Gallery. From his studio 19 floors above the city streets, Middleman has documented the changes in daylight as well as changes in the skyline itself. Back on the ground, his inky depictions of horses and burlesque capture motion and beauty in two distinctly different venues. Opening reception 6-8 p.m. Jan. 17; on view during gallery hours Jan. 17-Feb. 16. C. Grimaldis Gallery, 523 N. Charles St.

Art and Healing with WombWork Productions
Explore The Walters Museum’s historic property at 1 West Mount Vernon Place, and enhance your experience of this storied residence with a performance from local social change theater group WombWork Productions. One of WombWorks’ goals is to use art as a method for healing, and this new work will seek to connect the present to stories from 1 West Mount Vernon Place’s past. 7-8 p.m. Jan. 24, The Walters Art Museum, 600 N. Charles St.

Music

BSO Pulse: Dan Deacon
Two forces of Baltimore’s music scene will combine their talents for one night only during the next iteration of the BSO Pulse series. Come early for Deacon-curated entertainment from Jamal Moore, Amy Reid, Stewart Mostofsky, Alex Silva, and Amanda Schmidt in the Meyerhoff lobby and stay to hear the world premieres of new compositions blending acoustic and electronic sounds. 6-10 p.m. Jan. 17, Joseph Meyerhoff Symphony Hall, 1212 Cathedral St.

Kentavius Jones Album Release w/ Brooks Long & Mad Dog No Good
An Eastern Shore native releasing his long-awaited album and the return of Brooks Long & The Mad Dog No Good? Count us all the way in. Join singer-songwriter Kentavius Jones as he celebrates his new album, The Bohemian Beatbox, at Creative Alliance. He’ll be joined by CA curator of special projects Brooks Long and his rock and soul band for a full night of homegrown hits. 8-11 p.m. Jan. 25, Creative Alliance, 3134 Eastern Ave.

Super City, Chaunter, and Soul Cannon
Embrace the “freakwave” sound of Baltimore’s Super City as they return home after dancing their way through the south. You’ve probably heard tracks off the band’s latest project, Sanctuary, by now, but nothing compares to experiencing these guys’ rock anthems and expert choreography live. Local acts Chaunter and Soul Cannon will also join the party at the Ottobar. Doors at 8 p.m., show at 9 p.m. Jan. 26, Ottobar, 2549 N. Howard St.

Theater

Thank You, Dad
His twisted legacy has been immortalized by filmmakers, songwriters, authors, and poets. Now revisit Jim Jones’ deadly Peoples Temple with the world premiere of this collection of three plays by Aladrian C. Wetzel. Performed by Rapid Lemon Productions Artistic Director Lance Bankerd, this trio of works based on the life of Jones will kick off RLP’s 2019 season, which explores the power of belief. Jan. 11-20, Baltimore Theatre Project, 45 W. Preston St.

Roald Dahl’s Charlie and the Chocolate Factory
Dive into a world of pure imagination with Charlie, Willy Wonka, and the rest of Roald Dahl’s colorful characters in this musical based on the beloved work of children’s fiction. With colorful costumes, classic songs, and plenty of twists and turns, this tale is sure to be a delight for all ages. Just be sure not to slip Slugworth any trade secrets on your way out of the theater. Jan. 22-27, The Hippodrome Theatre, 12. N. Eutaw St.

Film

Who Will Write Our History
When lies and hate took over their world, a group of journalists, scholars, and community leaders fought back with the only weapons they had left—their words. This new documentary from Roberta Grossman exposes the secret band of writers known at Oyneg Shabes, who documented life under Nazi rule in the Warsaw Ghetto.

Drawing from the group’s writings, new interviews, dramatizations, and archival footage, Grossman has crafted a film that carries on the legacy of this brave group determined to ensure their stories would survive. The Who Will Write Our History screening at Landmark Theatres, Harbor East is one of several around the world that will take place as part of International Holocaust Remembrance Day. 1 p.m. Jan. 27, Landmark Theatres, Harbor East, 645 President St.

Literature

Roxane Gay With One N
Loyola University’s annual Martin Luther King Jr. Convocation always brings incredible personalities with powerful stories to Baltimore, and this year is no exception. For the 26th annual event, author Roxane Gay will discuss feminism, body image, and social justice at Reitz Arena and end the evening with a book signing. Though the event is free, you’ll want to register early to secure your seats. 7-9 p.m. Jan. 22, Loyola University Maryland, 4501 N. Charles St.

Polar Bear Plunge
Jan. 26. Sandy Point State Park, 1100 E College Pkwy, Annapolis. 9 a.m.-5 p.m. Prices vary. Ever since Stephan Timchula adopted his “Major Offense” superfan persona 10 years ago to honor the Baltimore Ravens’ (sometimes) strong offense, it has become his way of reminding fans that sports go beyond wins and losses. A longtime member of the Ravens Roost 115 and the Pro Football’s Ultimate Fan Association, Timchula shares the Special Olympics Maryland’s creed—that sports create new opportunities for people with disabilities—and he’s supported the nonprofit by proudly wading into the chilly waters at Sandy Point State Park for the past five Polar Bear Plunges. “Most importantly, it’s a day dedicated to the Special Olympic athletes, and watching them have fun rubs off on everyone else,” says Timchula, who will take the plunge again on January 26. “It makes jumping into the icy-cold water worth it.”

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Martin Luther King Jr. Day
Jan. 21. 830 E Pratt St. Times vary. $5. In honor of what would’ve been Martin Luther King Jr.’s 90th birthday, commemorate the life and legacy of one of the most influential civil rights activists in American history at the Reginald F. Lewis Museum’s annual remembrance. Bring the whole family to the downtown museum to celebrate King’s powerful vision of freedom and peace through music and dance performances by local acts, readings by Baltimore-based author Kevin Shird and Baltimore Center Stage actors, and kid-friendly activities.

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Between Spirits and Sisters
To Feb. 2. 2224 N Charles St. This month at Galerie Myrtis, view works by mixed-media artist Delita Martin that explores womanhood and the power of narrative impulse. Inspired by oral traditions and vintage photographs, this Texas-based artist uses printmaking, drawing, sewing, collaging, and painting techniques to bring portraits of African-American women to life.

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Black & White Party
Jan. 19. The Assembly Room, 316 Guilford Ave. 8 p.m.-midnight. Since the Pratt Contemporaries’ first Black & White Party a decade ago, this all-night affair has become one of the city’s most anticipated see-and-be-seen parties of the year. This year’s theme of Studio 54 will transport guests back to the disco days of the iconic ’70s nightclub with live music, festive eats, and themed cocktails flowing all night long. Pro tip: Mark your calendar for January 4—the day tickets go on sale—as general tickets typically sell out within minutes.

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Baltimore Restaurant Week
Jan. 11-20. Prices vary. After a whirlwind year of openings and closings in the area dining scene, the city’s winter restaurant week is the perfect time to try out new spots, revisit neighborhood standbys, and get your foodie fix without breaking the bank. Nearly 60 local spots will be on board for this 10-day deal, which offers prix-fixe menus priced between $12-20 for brunch and lunch and $20-35 for three-course dinners. Map out your must-try meals, make your reservations early, and take advantage of this annual culinary celebration.

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Super City
Jan. 26. 2549 N Howard St. 9 p.m. $12. After playing their latest album, Sanctuary, to audiences in every corner of the country, this Baltimore-based “freak wave” band is back home and ready to remind us what we were missing. Pack the Ottobar to hear this rising indie-pop group play showstopping hits such as “Artificial Sin” and “Find You,” and get there early to catch sets by homegrown acts including songwriting duo Chaunter and hip-hop collective Soul Cannon.

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BSO Pulse: Dan Deacon
Jan. 17. Meyerhoff Symphony Hall, 1212 Cathedral St. 8:30 p.m. $25-55. The Baltimore Symphony Orchestra has collaborated with acts ranging from big-name indie artists to up-and-coming groups for its BSO Pulse series, but this month’s joint performance with local legend Dan Deacon is a can’t-miss marriage between two iconic figures in the city’s music scene. Hear this genre-defying artist debut several new joint compositions with the BSO during this electronic-acoustic performance.

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Dr. Martin Luther King Jr. Parade
Jan. 21. Locations vary. 12 – 2 p.m. Free. For the past 18 years, the city of Baltimore has commemorated Dr. Martin Luther King Jr.’s legacy with an all-out parade that starts on King’s namesake boulevard and winds down to Baltimore Street. Find a spot along the parade route to wave to local community bands, color guards, dance squads, and other civic organizations as they pass by.

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Charlie and the Chocolate Factory
Jan. 22-27. 12 North Eutaw Street. $72-199. Times vary. Gather your everlasting gobstoppers, Oompa Loompas, and golden tickets for the sweetest production of the season. For six days, the Hippodrome Theatre will transform into Willy Wonka’s Chocolate Factory for this family-favorite musical that brings new life to songs from the original film such as “The Candy Man” and “Pure Imagination.”

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Baltimore Orioles FanFest
Jan. 26. 1 W Pratt St. 11 a.m.-6 p.m. $12. As the saying goes, there is no offseason in baseball. Put last year’s abysmal season in the past and kick off the Orioles’ 2019 season with a day-long celebration at the Baltimore Convention Center. Orioles FanFest offers games and press conferences for kids, one-of-a-kind memorabilia for purchase, and autographs and Q&A sessions with select players from the team.

Charm City Fringe Festival
Nov. 1-11. Locations and times vary. $10-98. Now in its seventh year, this annual celebration of Baltimore’s non-traditional theater scene returns to the Bromo Arts District for 10 days of eclectic performances by more than 20 local and regional acts. From unconventional circus and variety acts to off-kilter comedy and theater pieces, catch quirky sets by rising stars such as BlueShift Dance, comedian Arielle Conversi, and award-winning performance artist Monica Hunken, pictured, during this cutting-edge festival.

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Jim Burger: A Charmed Life
To Nov. 24. Creative Alliance. 11 a.m. to 7 p.m. Free. From Baltimore Orioles fans leaving Memorial Stadium for the final time to women waiting under hair dryers at a Highlandtown salon, images by former Baltimore Sun photographer Jim Burger have encapsulated the city’s hidden beauty over the years. This month, view more than 130 photographs by the MICA grad during this retrospective exhibit at Creative Alliance, and return on November 8 for a special presentation of Burger’s full-color catalog of work.

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Baltimore Craft Beer Festival
Nov. 3. $15-55, As the Old Line State’s craft beer scene has expanded over the past few years, this annual all-you-can-drink festival has grown along with it. Now in its fourth year, the Brewers Association of Maryland’s signature event will host more than 50 Maryland-only breweries at Canton Waterfront Park for an afternoon of sampling drafts from newcomers such as Checkerspot Brewing and Antietam Brewery, a homebrewing competition, and tons of local eats to soak up the suds.

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Across the Bay 10K
Nov. 4. Chesapeake Bay Bridge. 6:55 a.m. $70-250. If you’ve ever driven across the Chesapeake Bay Bridge and wondered what it would be like to run across it, you’re in good company. Lace up your sneakers for this early-morning run that draws more than 20,000 joggers to the starting line every year to soak up the views of the bay from 200 feet above the water. Stick around for live music, family-friendly activities, and all-you-can-drink options during the post-race festivities.

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Travis Scott
Nov. 8. 201 W Baltimore Street. 7:30 p.m. $35.95-250. It has been a busy year for this 26-year-old rapper: His third album, Astroworld, released to rave reviews, he became a first-time parent with celebrity cosmetics mogul Kylie Jenner, and this month, he will kick off his 25-city tour in front of a jam-packed crowd at Royal Farms Arena. Known for his unpredictable performances, this explosive artist will perform dance hits such as “SICKO MODE” and “BUTTERFLY EFFECT.” Who knows? Fans might even catch a glimpse of Kylie and Stormi in the audience.

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Romare Bearden
Nov. 11- March 3, 2019. 830 E Pratt St.. Times vary. Free-$8. A collection of pieces by the prolific visual artist Romare Bearden, best known for his collages and other works depicting the realities of African-American life during the 1960s, will be on view at the Reginald F. Lewis Museum in dedication to the artist’s tremendous impact on the community. See more than 70 of the late artist’s collages, watercolors, and drawings at this downtown museum and honor his depiction of African-American religion and spirituality.

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Fiddler on the Roof
Nov. 13-18. 12 N Eutaw St.. Times vary. $99-250.50. Set in the tiny village of Anatevka in 1905, this time-honored musical about a poor milkman finding suitors for his five daughters in their Jewish community has become a Broadway classic. During its five-day run at the Hippodrome Theatre, experience the charming story that has won the hearts of audiences for decades with themes of change, tradition, and growth, featuring new movement from Israeli choreographer Hofesh Shechter.

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BAZAART Holiday Art Market
Nov. 23-24. Jim Rouse Visionary Center 3rd Floor, 800 Key Hwy. Times vary. Free. Start the holiday season off right by supporting local artisans during the American Visionary Art Museum’s annual holiday art market, featuring tons of one-of-a-kind items that make early-bird shopping special. Held on Small Business Saturday, the market will highlight original creations made by more than 40 regional artists such as paintings, textiles, and jewelry. After you’re shopped out, take a free tour of the acclaimed Jim Rouse Visionary Center. avam.org.

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BSO Pulse: Parquet Courts
Nov. 29. 1212 Cathedral St.. 8:30PM. $25-55. Now in its fourth season, this first-of-its-kind series that brings together some of the city’s best classic and indie artists returns with a collaboration between the Baltimore Symphony Orchestra and alternative rockers Parquet Courts. Don’t miss this three-set concert at the Joseph Meyerhoff Symphony Hall that will feature a set by the BSO, followed by a few songs from this rising indie group’s latest album, Wide Awake!, before they join the BSO for a joint performance.

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Miracle on 34th Street
Nov. 24-Jan. 1, 2019. W 34th St.. 6-11 p.m. Prices vary. Jim Pollock treats the Miracle on 34th Street tradition like a series of date nights. Every evening from Thanksgiving weekend to New Year’s Day for the past 29 years, he has come home from work, washed up, and opened his home and heart to the hordes of people who visit the 700 block of 34th Street in Hampden to see the “most outrageous Christmas lights” in Maryland. Known on the block for his 10-foot-tall tree made out of 104 hubcaps, he also welcomes about 1,200 visitors per night into the makeshift gallery in his living room to view work by local artists. “This tradition is about finding a moment of peace and togetherness in all of this chaos,” says Pollock. “We do this for the city that we love.”

What started out as an experiment—exposing people to concert symphony orchestra music by way of indie rock—has gained such rapid popularity, Baltimore Symphony Orchestra’s Pulse concerts have become some of the most sought-after events to attend in the city.

In its fourth season, the series pairs an indie music act with work by a composer that complements it, performed by the BSO. These are three-set concerts: a first set by the BSO (almost like an opening act), the next by the indie artist, and a third by the indie artist backed by the BSO. Between sets, WTMD’s Alex Cortright talks with the artists onstage.

The BSO continues to push the boundaries with this season’s lineup, featuring Dan Deacon, Rhiannon Giddens, Kelela, and Parquet Courts.

As BSO associate conductor Nicholas Hersh, who conducts the shows, puts it, this season will offer “perhaps our most daring and diverse lineup of musical talent yet,” as each artist represents a unique genre.

Ethiopian-American singer-songwriter Kelela kicks off the season October 25 with her soulful vocals; post-punk rockers Parquet Courts will host a fun, upbeat show on November 29; Baltimore’s electronic-music icon Dan Deacon will bring his DIY aesthetic and eccentricity on January 17; and Grammy-nominated banjoist Rhiannon Giddens of the Carolina Chocolate Drops, who is recognized internationally for her original songwriting and vocals that blend gospel, jazz, blues, and country, will play May 16.

Past seasons have brought the likes of Esperanza Spalding, Wye Oak, and Valerie June to the Meyerhoff Symphony Hall stage.

“It’s supposed to be flexible,” says Hersh, who co-curates the series. “We don’t want to do the same thing over and over, so we get feedback and implement changes.”

Attendance has been up for the shows, which have also proven to draw a younger audience to the symphony hall.

These casual concerts—where you can buy beer and bring it to your seat—kick off with a happy hour in the lobby, where local musicians perform in a party-like atmosphere.