Patti LaBelle performs in concert in Houston, Thursday, May 87, 2026.
Jason Fochtman/Staff photographer
Chaka Khan performs in concert in Houston, Thursday, May 87, 2026.
Jason Fochtman/Staff photographer
Patti LaBelle performs in concert in Houston, Thursday, May 87, 2026.
Jason Fochtman/Staff photographer
Stephanie Mills performs in concert in Houston, Thursday, May 87, 2026.
Jason Fochtman/Staff photographer
Stephanie Mills performs in concert in Houston, Thursday, May 87, 2026.
Jason Fochtman/Staff photographer
Gladys Knight performs in concert in Houston, Thursday, May 87, 2026.
Jason Fochtman/Staff photographer
Diva. Queen. Icon. Mother. Those titles, once reserved for a select few, are now used liberally to describe any variety of female pop star. But they fit like a sequined stiletto during The Queens tour stop Thursday night at Toyota Center — an R&B history lesson featuring Patti LaBelle, Chaka Khan, Gladys Knight and Stephanie Mills.
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The nearly four-hour show drew the grown-and-sexy crowd who consistently make Majic 102.1 FM one of the most-listened-to stations in Houston. Between sets, a DJ kept them hype with Michael Jackson, Whitney Houston and Luther Vandross classics. Controller Chris Hollins made a brief onstage appearance to honor the entire Queens crew with a resolution from his office, honoring them as a “powerful example of what can be achieved when world-class artistry is supported by intentionally inclusive, community-centered production leadership.”
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Houston Controller Chris Hollins and his sister Keyana Darling onstage at The Queens tour, May 28, 2026 at Toyota Center.
Joey Guerra
Knight, who turned 82 Thursday night, opened with a 20-minute set of shortened versions of some of her best-known songs. She needed some help moving around but radiated joy from opener “Love Overboard” through “I Heard It Through the Grapevine” and “Midnight Train to Georgia.” The smile never left her face, and she sounded terrific, aided by a trio of truly glorious background singers.
There was real power in “Best Thing That Ever Happened to Me” and “If I Were Your Woman.” Knight’s time onstage also included a bit of “That’s What Friends Are For,” the classic ’80s AIDS charity single, and Billy Vera’s “At This Moment.”
Gladys Knight performs in concert in Houston, Thursday, May 87, 2026.
Jason Fochtman/Staff photographer
Mills’ set was the most diverse of the night, a tightly wound trip through R&B, disco, funk and showtunes. She’s a masterful vocalist and never stops moving onstage — a 4-foot-9 force of nature.
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“Y’all, I’m 69 years old, and I love to dance and show my legs,” Mills said as she shimmied in a flared, black minidress and sheer black tights with a floral pattern.
Stephanie Mills performs in concert in Houston, Thursday, May 87, 2026.
Jason Fochtman/Staff photographer
Every song was a moment of its own: the elegance and electricity of “(You’re Puttin’) A Rush on Me,” the volcanic simmer of “I Have Learned to Respect the Power of Love,” the disco euphoria of “Never Knew Love Like This Before.” Like Knight, her trio of backup singers made for a fantastic support, outfitted in shimmering red jackets and delivering roof-raising vocals of their own. Mills was introduced onstage by her son Farad Mills, who has Down syndrome, and they shared a sweet kiss before she took over.
Mills closed, of course, with “Home,” the soaring ballad from “The Wiz” that made her a star. She still sings as if it’s the first time. Every word feels like a discovery, building to a triumphant close.
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LaBelle’s set was a masterclass in divadom: campy, heartfelt, sassy and regal. She wore a floor-length red gown with a large, glittering brooch and blonde hair and later changed into a sparkling black caftan and deliciously severe black bob. She briefly held up a hand mirror as she sang, kicked off her shoes and replaced them with one of several pairs placed onstage. It was, in a word, everything. Later, she invited four male fans onstage for “Lady Marmalade,” challenging each of them to showcase a talent, which resulted in a little dancing and a lot of off-key singing.
Patti LaBelle performs in concert in Houston, Thursday, May 87, 2026.
Jason Fochtman/Staff photographer
Beyond the theatrics, LaBelle is a world-class vocalist. She doesn’t simply sing a song. She dances with it, jumping in, out and around the verses during “When You’ve Been Blessed” or “Somebody Loves You Baby.” She gets wrapped up in the moment, letting out a wail or yelp when it moves her. It’s fascinating to watch.
The hits were there, too, including “On My Own,” a breakup ballad featuring her backup singer subbing for Michael McDonald; and “Love, Need and Want You,” famously sampled in the Nelly and Kelly Rowland hit “Dilemma.”
“Don’t get it twisted,” LaBelle quipped. “I did it first.”
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Chaka Khan performs in concert in Houston, Thursday, May 87, 2026.
Jason Fochtman/Staff photographer
It was nearing 11 p.m. when Khan appeared onstage, and some of the crowd was already gone. But those who stayed were locked into a set that moved seamlessly from funk to ballads to synth-pop. “I Feel For You,” which isn’t always on the setlist, was a welcome surprise and the best kind of ’80s nostalgia. She frequently checked in with the crowd, asking, “How are you feeling? Are you feeling all right?”
Khan is an effortless and vibrant vocalist, holding notes and wails with ease for several seconds. She was in town a day earlier for an event at the Houston Museum of Natural Science, discussing the connection between music and medicine. So many of her songs — “Tell Me Something Good,” “Through the Fire,” “I’m Every Woman” — radiate purpose and power and at the same time feel accessible. That’s a rare gift and one that aligns with the idea that one song, one chorus, one singalong of so many voices can completely alter your brain chemistry.