For many members of the Boston Gay Men’s Chorus, Holly Folly is a celebration of home.

“It is an incredibly moving experience,” says Reuben M. Reynolds, BGMC’s music director, of the group’s annual concert in Provincetown. “We have a whole group of guys who just joined the chorus and this is their first experience with us. More than anything, the guys enjoy being able to celebrate being with each other. We exist to sing this glorious music that tells the story of our lives. We exist to create family for all of our people. And we exist to create social change in the world.”

Reynolds says the chorus has always found ways of creating a sense of family for members who don’t have one, including group Thanksgiving dinners at homes throughout Boston. “Some members have been turned out of their homes,” he says. “Some of them just don’t have homes. But we create a family for all the members of the chorus.”

The group’s most recent touring concert, “Brass & Bows & Boys,” will be performed at Provincetown Town Hall on Saturday night. They’ll also be attending a Welcome Party at 9 p.m. on Friday at the Shipwreck Lounge on 10 Carver St., and a Meet & Greet (with a sing-along and caroling) at 11 a.m. on Saturday morning at Pilgrim Monument and Provincetown Museum at 1 High Pole Hill Road. The program on Saturday night at Town Hall will feature “Holiday Bells, Brass and Boys,” written by BGMC member David Shaffer, and the parody “Santa’s Turn,” by BGMC member Jay Baer.

“What sets us apart is that we actually sing the stories of our lives,” Reynolds says. “We sing what’s important to us. We share our lives in our music.”

The 200-member chorus will be accompanied on piano by Chad Weirick, who is also the assistant music director. And this December, the group will be celebrating Weirick’s 25th anniversary with the chorus. In his honor, the holiday show includes a piece that Weirick composed, “Pictures of the Season.” As in Mussorgsky’s “Pictures at an Exhibition,” which was Weirick’s inspiration, there is a recurring promenade in the piece as the chorus visits various vignettes. However, instead of encountering Mussorgsky’s musical renderings of “Catacombs” or “The Hut on Hen’s Legs,” audiences will be treated to images of “Deck the Halls” and “The Holly and the Ivy,” with a promenade in between of “Do You Hear What I Hear?” Weirick also wrote a new movement based on themes, melodies and musical segments he heard during the BGMC South Africa tour earlier this year, where they participated in the very first gay pride parade in the city of George. The music that the brass band played during that parade is now part of the chorus’ holiday show.

According to Reynolds, the first phase of the chorus’ life was just going public. The second phase was fighting AIDS, by raising money and awareness, and taking care of each other. The third stage was marriage equality. “The day the commonwealth voted as they voted, we were outside singing,” Reynolds says. “Sometimes people think we just get up on stage and sing pretty songs. Well, we do that. But we allow people to find their lives, to tell their stories. And by telling their stories, we become the most powerful thing we can be.”