The Queens: 4 Legends, 1 Stage Tour Proved Talent is Timeless

When The Queens: 4 Legends, 1 Stage Tour featuring Gladys Knight, Stephanie Mills, Patti LaBelle and Chaka Khan, touched down in Fort Worth over the weekend, the four groundbreaking singers’ showmanship on the Dickies Arena stage proved why they’ll continue to reign supreme for generations to come.

Each headliner shattered glass ceilings for women and Black musicians by disrupting the music industry and achieving mainstream success throughout their respective careers. The nostalgic tour was originally scheduled to come through town in February, but the night of soul, R&B, fun, disco, pop and rock was well worth the wait for patient fans. The way they transported the crowd back to the ’60s, ’70s, and ’80s, through their classics, was enough to make up for lost time.

A Good Night for Gladys Knight

The show opened with Motown pioneer Gladys Knight, who delivered the shortest set of the evening. The Atlanta native’s band kicked off the night, warming up the crowd before she came out in a pantsuit and rocking a mullet.

The 81-year-old was escorted by her three background singers to her position onstage, where she remained for her entire performance. Knight quickly moved into early cuts, including “Love Overboard,” “Taste of Bitter Love,” “Best Thing That Ever Happened to Me” and “I’ve Got to Use My Imagination,” before easing into “Neither One of Us.” The performance built to a soulful ending, with attendees cheering her on. That connection continued during a cover of Dionne Warwick’s “That’s What Friends Are For,” which drew another warm response from the crowd. But the energy shifted when a cover of Marvin Gaye’s “I Heard It Through the Grapevine” began, and she hit a few shoulder bounces and knee dips, bringing playful movement to the stage. Soon, the audience began to stand, grooving with the Empress of Soul.

Knight took the crowd to church, leading them into gospel singer Donnie McClurkin’s “Stand” while briefly weaving in gospel singer and pianist Richard Smallwood’s “Total Praise.” By the time she closed with “Midnight Train to Georgia,” the set had moved through the soul genre. As she left the stage, she mouthed, “I love you all so much,” a small and personal gesture. Her set carried the calm command of an artist who does not need to prove her legendary status.

Stephanie Mills isn’t in Oz anymore

Next up was Mills, who proved that greatness doesn’t require much space. The Brooklyn-born icon, who made a name for herself as the original Dorothy in the Tony-winning musical “The Wiz”, arrived in an oversized yellow coat, and when she shed it to reveal a sequined strapless bodycon dress, the stage transformed, and she was the embodiment of pure sunshine. The presentation matched her energy from the jump. A live band and background singers, dressed in gold shimmer jackets, primed the audience ahead of the Broadway royalty’s entrance. She opened with “What Cha Gonna Do With My Lovin’,” then shifted into “(You’re Puttin’) A Rush on Me,” keeping the momentum rolling through the rest of the set. But it was her 1985 R&B hit, “I Have Learned to Respect the Power of Love,” that drew the most instinctive reaction from the crowd.

“This happens to be one of my favorite songs to sing,” she told the audience before launching in.

Screams rang out as she commanded the room, and her background singers followed with freestyle vocal runs that escalated with each turn. Mills never stood still. She danced and moved across the stage, making it clear she was having the time of her life. The crowd fed off it, too. During “Never Knew Love Like This Before,” she tossed roses into the audience. By the time she closed with “Home,” the arena felt like a Sunday morning service. Before leaving, a tribute reel flashed across the screen honoring those no longer here: Michael Jackson, Aretha Franklin, Kobe Bryant, Whitney Houston, Luther Vandross, Chadwick Boseman, Uptown Records founder Andre Harre and others. Before the songstress walked off, she stood in the center with her son, Farad Mills, who has Down syndrome to wrap a bow on her set.

Lady LaBelle Wowed Us As Expected

LaBelle followed with the kind of regal theatrics only she can make feel off-the-cuff. After her band and background singers ushered in her arrival, she swept onto the stage in a long, red gown anchored by a large diamond jewel brooch pendant, commanding the room before she sang a single note. She wasted no time setting the record straight. Before “Love, Need and Want You,” she reminded the crowd of the song’s later life through Nelly and Kelly Rowland’s “Dilemma,” joking, “Don’t get twisted, I did it first.” From there, the two-time Grammy winner leaned into her diva reputation, kicking off her heels early in the set, picking up a bedazzled mirror and throwing white roses from a bouquet into the crowd and dancing. 

“Let me tell you something. I will be 82 [on] May 24,” she told the arena, drawing cheers before continuing. 

LaBelle kept the set loose and interactive, two-stepping through parts of the show before a feature spot from her band allowed for an outfit change. As her trombonist played Tevin Campbell’s “Can We Talk,” LaBelle left the stage briefly before returning in a new bob with bangs and a dark, gold-copper look. Then came “If Only You Knew,” where she reminded the crowd that her voice remains the main event. She stretched into strong, piercing high notes as attendees stood, applauded and chanted her name as she wrapped the number, leaving her visibly moved as she soaked in the love.

She also took time to honor Debbie Henry, a background singer who has sung with her for 40 years, giving Henry space to showcase her talent before presenting her with roses. Later, images of music and cultural figures flashed across the screen as LaBelle and her singers moved into a gospel tribute medley celebrating those who have passed. “Lady Marmalade” closed her set, and the crowd loved every second.

Chaka Khan Was Every Woman

Khan closed the night with a cinematic entrance that leaned into her larger-than-life presence. Her set opened with her new “Chakzilla” video, a campy Godzilla-inspired visual that turned the arena screens into a blockbuster-style prelude, setting up her grand entrance and serving as a reminder that Khan is a living force. Khan brought a sharper, funk-driven energy to the lineup. The first song she sang was “You Got The Love,” followed by “Do You Love What You Feel,” before the groove deepened with “What Cha’ Gonna Do for Me.”

“Sweet Thing” became one of the night’s strongest singalong moments among any of the performances, with much of the crowd standing and singing loud enough for Khan to acknowledge it.

At 73, Khan’s voice sounded flawless throughout the set, never straining. The power was there, rising out of her with ease, whether she was riding the funk of “Tell Me Something Good” or leaning into the emotional weight of “Through the Fire.” She ended with “I’m Every Woman,” turning the final moments of her set into a celebration that felt fitting for a night built around four women whose voices have carried generations. 

By the end of the night, what was made most clear was not just that all four women are legends; It was the durability of their voices that held weight and enough fire to still captivate the room all these years later.