In the US, many music classrooms contain student populations from multiple ethnic and socioeconomic groups. Yet, many school music programs (such as choir classes) teach in a monocultural, dictatorial, exclusionary, elitist, and hegemonic manner (Mantie & Tucker, 2012; Regelski, 2012; de Quadros, 2019). Choral music in the US perpetuates a specific dogmatic view of learning and knowing music, referred to as canonity (wamwa Mwanga, 2025). Attempts to transform such practices in music education have been varied (Abrahams, 2005, 2017; Bylica, 2020; Ladson-Billings, 1995; Paris & Alim, 2014). This presentation details how one high school choral teacher from Oklahoma, USA examined Noddings’ (2002, 2012, 2013) and Hendricks’ (2018, 2021, 2023) research into care and de Quadros and Amrein’s (2023) work with storytelling. She conducted a qualitative instrumental case study utilizing care in her own classroom to teach dialogically and encourage student empowerment and storytelling, placing value on student knowledge and affording students and teacher greater connection on students' terms (Delgado & Stefancic, 2017; Chapman, 2010). The teacher encouraged students to plan their own social justice choral concert on a topic of their choosing. The resulting event incorporated de Quadros’ (2019) frames of activity for social justice. It also resulted in students creating a collective narrative about their chosen topic, mental health, that they shared with audience members.The presenter describes the impact of this event by addressing three research questions: (1) How do students and audience members experience meaningfulness and relevance of a student-led social justice concert that was the product of a dialogic choral project? (2) In what ways, if any, did the students feel that the dialogic power dynamics between teacher and students affected the classroom and learning? and (3) In what ways, if any, did students feel that their goals for the project promoted student voice and empowerment through storytelling? She gathered field notes, observation notes, interviews, and artifacts, and analyzed them using deductive and inductive methods. Findings indicate that students and audience members all experienced meaningfulness and relevance at the concert event. Students also experienced empowerment through the planning and rehearsal processes, and the shift in power dynamics to more dialogic teaching enabled students to tell their collective story.A potential way forward for choral education, these inclusive and empowering learning experiences for diverse student populations afford students opportunities to create dynamic and relevant concert programming rooted deeply in their communities.