Just before the musician and producer Dijon kicked into the amniotic title track off his 2025 album “Baby” at a sold-out Brooklyn show on Monday night, he played a stitched-together collage of samples featuring artists intoning that familiar word. Baby is one of popular music’s most common epithets, Dijon was suggesting, but his restlessly inventive, fragmented approach to R&B — often a suggestion of what Prince might have sounded like had he lived to hear Frank Ocean’s “Blonde” — attempts to make the familiar seem strange, fresh and deeply personal.

In every realm of his multi-hyphenate career, this has been Dijon’s breakout year. In addition to a memorable feature on the indie-folk musician Bon Iver’s tender LP “Sable, Fable” (and a small role in Paul Thomas Anderson’s Oscar contender “One Battle After Another”), he is a writer and producer on Justin Bieber’s nimble pair of “Swag” albums; those contributions earned Dijon his first two Grammy nominations, including a nod for producer of the year, non-classical. This weekend, he’ll make his debut as the musical guest on “Saturday Night Live.”

A month after “Swag” arrived, when Dijon delivered his own “Baby,” his role in Bieber’s sonic reinvention was even more obvious. Both are records about new fatherhood and its effect on a marriage, and both forgo the traditional topcoats of pop-song polish in their attempts to present raw, intimate truths. But while Bieber’s extramusical mythos still gives “Swag” a coherent and grounded core, Dijon’s relative anonymity allowed him to push into more experimental territory, a kind of glitching, postmodern soundscape in which would-be hooks and sudden blasts of passion seem to float untethered from their creator.

Dijon’s current tour reflects that sense of diffuseness. Even for a midsize venue, the staging at Brooklyn Paramount, where he performs again on Tuesday night, was remarkably minimal: No video effects, branding or even colored lights. Just nine musicians arranged in a casual semicircle, as if the whole show were an impromptu studio jam that happened to be witnessed by an audience of several thousand. From his early days working with the hip-hop collective Brockhampton to his more recent collaborations with the fleet-fingered guitarist Mk.gee, Dijon’s music has placed an emphasis on communality. That sensibility is evident on this tour, too, where guest musicians have been appearing with his band. Leslie Feist joined him for a recent show in Toronto, while the multi-instrumentalist Nick Hakim sat in for Monday night’s gig.

Dijon opened with “Fire!,” a funky shape-shifter from “Baby” that he punctuated with sudden blurts of incendiary emotion, shouting to be heard over blown-out distortion. In its most thrilling moments, the song seemed to be ripping apart, as if it were shedding its skin in search of a less restrictive form.

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