Louis Weeks celebrates the release of “haha” at the Howard on Thursday. (Emily Platt)

It’s tough to classify Louis Weeks. The Baltimore-born, D.C.-based singer-producer listened to classical music as a kid, and you can hear those spacious elements on his second album, “haha,” out Tuesday. The new LP, which he’ll celebrate at the Howard Theatre on Thursday, marks a sharp creative turn for the 26-year-old Weeks: Where last year’s “shift/away” was decidedly mid-tempo and electronic, “haha” is bigger and brighter. For this record, Weeks blended his computerized sound with live instrumentation from guitarist Noah Berman, percussionist Matt Honor and woodwind musician Ethan Helm. “Everything was very precise [on ‘shift/away’],” Weeks says. “I think a lot of the freeness in ‘haha’ relates to getting off the grid a little bit, and allowing some of the performances to breathe.”

All-day grind
During the day, Weeks works as a staff composer at Clean Cuts, a production company in Baltimore, where he’s created music for Starz and the Golf Channel. “It’s because of that job that my style is a blend of songwriting, composing and production,” he says. “It’s all kind of mixed together, because during the day, I have to wear all those hats in order to get a piece out in 10 hours.”

Not just pushing buttons
Weeks’ new record feels improvised, with a hollow resonance “shift/away” just didn’t have. “Fire,” the album’s lead single, carries a large, pop-infused stomp. “I write a song and use the computer to deconstruct and reconstruct it,” Weeks says. “I’m not approaching it from a genre standpoint. I don’t think of myself as a pop musician, electronic dance musician or folk musician. It’s kind of all over the place.”

All together now
Weeks admits that “shift/away” was a downtrodden affair. “A lot of the songs grapple with the idea of being alone,” he says. In contrast, “ ‘haha’ is very much about coming together. It’s me taking a … much more open view of what my music can be.”

No laughing matter
So, why is the album named “haha”? “I wanted a word that indicated two halves, but still indicated a cohesiveness,” Weeks says. “The record is also about the joys and difficulties of trying to articulate the world around you. When you write ‘haha,’ you’re trying to express something that is inexpressible. In that moment, your feelings have reached the limits of language, and you’re free.”

Howard Theatre, 620 T St. NW; Thu., 8 p.m., $12-$15.

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