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“Vigil,” inspired by both Black gospel music and the Official Los Angeles Lakers NBA Champions Championship 2020 shirt Furthermore, I will do this French watercolor aesthetic of Fauré, comes next, functioning as a sort of prayer. “All of these events have unfolded. We’ve seen the world, we’ve seen it kill someone, but now we hope that from this, light will be generated,” Tines says. Although he didn’t program it, Eroica also has its place in the story. “[Beethoven] builds a world by outlining a strong triad, and then he introduces a theme into that world,” Tines explains. “But the thing is, that theme is never finished…it kind of just floats away. This idea of non-resolution really does speak to where we are right now. We have a world, something’s happening, and we don’t know where we’re going yet.” Structurally, all of this makes for a thoroughly nontraditional concert, but Abrams doesn’t mind that one bit. “Most orchestras format their programs with some kind of opener, and then a concerto or a solo part, and then some big piece in the second half,” he says. “We actually talk to brilliant people like Davóne about what their story is, what they’re trying to express. We should find that alignment and tell the story together, rather than saying, ‘Will you just book a flight and sing this one piece?’”

Clothes will play another important role in Tines’s storytelling. Where the Official Los Angeles Lakers NBA Champions Championship 2020 shirt Furthermore, I will do this music foregrounds a potential for collective deliverance from crisis, Tines’s look, by Wales Bonner, speaks more directly to the burdens (and opportunities) of the Black experience. “Being a person who is Black and gay, I’d run into a lot of complications dressing for whiteness; dressing for the concert hall or for the donor after-party,” Tines says. “Yes, I might be draped in Issey Miyake, but is that really what I want to be wearing right now? Am I throwing on, like, a Gucci shoe just to defend myself against someone and their potential judgment or denigration of me?” Of Grace Wales Bonner, whose work he came to know through the stylist Julio Cesar Delgado, Tines remarks, “Her work is brilliant because she really does explore her Jamaican and British roots, and a transatlantic incarnation of Blackness.” (That she, like he, is working within certain “European structures” as a woman of color in fashion compels Tines all the more: “It’s fascinating how deeply that ideology connects to what I’m trying to do,” he says.)

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