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Verizon Ladies First Tour

The Verizon Ladies First Tour was a co-headlining in 2004 featuring American recording artists , , and , with Canadian singer serving as a special guest on select dates. Announced in January 2004, the tour was conceived by as a showcase for leading female urban artists and ran from March 12 to April 21 across 30 North American cities, including stops in Fort Lauderdale, New Orleans, and Anaheim. Sponsored by alongside brands such as and , it emphasized empowerment themes through high-energy performances blending R&B, , and , drawing enthusiastic crowds to arenas like the Office Depot Center and Arrowhead Pond. The faced logistical challenges, including rapid set changes between acts and a sophisticated audio system using Showco arrays and consoles, yet received praise for its vibrant execution and the artists' dynamic stage presence, marking a milestone in all-female headlining tours.

Background

Announcement

The Verizon Ladies First Tour was announced in January 2004, with Clear Channel Entertainment serving as the promoter. The co-headlining concept centered on , , and , with serving as the opening act on select dates and the lineup designed to promote their recent albums, including Beyoncé's (2003), ' (2003), and Missy Elliott's Under Construction (2002) and This Is Not a Test! (2003). The tour was planned to run from March 12 to April 21, , encompassing 30 arena performances across the . From the outset, planning prioritized an all-female roster to attract a broad demographic of audiences while underscoring themes of female empowerment in urban , akin to an R&B counterpart to .

Sponsors and Promotion

The Verizon Ladies First Tour was conceived and primarily sponsored by Verizon Communications, with additional backing from fashion brand Steve Madden and beauty company L'Oréal, which helped fund the production and reach a targeted audience of young women. Following its announcement in January 2004, the tour's promotion featured a comprehensive marketing campaign to build anticipation and drive ticket sales. These efforts positioned the event as a milestone in mainstream recognition for African-American women in music, blending promotional tie-ins with sponsor branding to amplify visibility. Central to the was the "ladies first" theme, which underscored female empowerment through the showcase of accomplished women in R&B and , fostering a narrative of genre unity and assertive self-expression. The tour's visual identity was enhanced by custom wardrobes designed exclusively by for the performers, incorporating bold, glamorous elements that aligned with the empowering aesthetic.

Production

Performers

The Verizon Ladies First Tour featured three co-headlining artists: , who served as the lead vocalist and choreographer for her dynamic sets; , who delivered piano-driven performances and soulful ballads; and , who brought high-energy rap sequences and innovative stage presence. These performers each contributed distinct elements to the tour's R&B and showcase, with closing most shows, Keys providing sophisticated musical interludes, and Elliott opening with explosive energy. Canadian R&B singer joined as a special guest on select dates, opening the show with a short set that added smooth vocal harmonies and set an intimate tone for the evening. Her appearances emphasized emotional depth, complementing the headliners' more theatrical styles. On dates featuring , she performed first, followed by the headliners. Rehearsals for the tour took place in early 2004, beginning in and extending to a session in just before the kickoff, with a focus on seamless transitions between acts to maintain the show's flow. While individual band preparations were prioritized—such as Keys' work on vocal harmonies with her —the artists coordinated logistics for set changes to ensure collaborative cohesion across performances. Each performer's preparations were closely linked to promoting their recent albums, including Beyoncé's , Keys' , and Elliott's This Is Not a Test!, allowing the tour to serve as a unified platform without conflicts from concurrent solo tours. This alignment enabled focused ensemble dynamics, as none of the artists had active individual headline tours during the period.

Staging and Setlists

The Verizon Ladies First Tour employed a multi-level stage setup to accommodate the distinct styles of its headliners, featuring risers, sequenced elements, and video screens for immersive visuals. Beyoncé's performances utilized elevated platforms for dramatic entrances and , while Missy Elliott's set incorporated a unique three-piece "goldfish bowl" design with front-facing video screens, side steps, and a hydraulically suspended DJ booth to enhance her high-energy rap delivery. Alicia Keys' segment centered on band risers and a central platform flanked by steps and theatrical curtains, emphasizing her piano-focused intimacy. Dancer ensembles played a key role across all acts, supporting synchronized routines and enabling seamless transitions between songs and set changes, which required efficient given the tour's elaborate production hauled in 14 tractor-trailers per show. Video screens projected dynamic imagery to complement the performances, creating a visually engaging environment without relying on . The overall structure consisted of sequential sets by the three headliners—typically opening with , followed by , and closing with —lasting 90 to in total, with quick changeovers to maintain momentum. Beyoncé's setlist highlighted sultry tracks from her debut solo album Dangerously in Love, such as "Baby Boy" and "Naughty Girl," transitioning into a high-impact Destiny's Child medley that included "Say My Name," "Independent Women Part I," and "Bootylicious." Alicia Keys' performances centered on piano-driven ballads and soulful numbers from Songs in A Minor and The Diary of Alicia Keys, featuring emotive renditions of "If I Ain't Got You," "You Don't Know My Name," and "Fallin'." Missy Elliott delivered a fast-paced rap segment drawing from her catalog, including crowd-favorite anthems like "Work It," "Get Ur Freak On," and "Gossip Folks," amplified by her troupe of dancers and co-performers.

Tour Schedule

Dates and Venues

The Verizon Ladies First Tour consisted of 29 concerts across the United States, running from March 12 to April 21, 2004, with all scheduled performances completed without cancellations or major changes. The itinerary began in the Southeast and progressed westward, featuring high-profile stops at venues like Madison Square Garden in New York City on April 12 and Staples Center in Los Angeles on April 20, before concluding with three shows at Arrowhead Pond of Anaheim in California. One date, March 18 in Houston at Reliant Stadium, featured only Beyoncé as a solo performance with Michelle Williams opening; this show was part of the Houston Livestock Show and Rodeo. Detailed attendance figures are unavailable for certain shows, such as those on April 10 in Uniondale, New York, and April 3 in Auburn Hills, Michigan.
DateCityVenue
March 12, 2004Sunrise, FLOffice Depot Center
March 14, 2004New Orleans, LANew Orleans Arena
March 15, 2004, TX
March 17, 2004San Antonio, TXSBC Center
March 18, 2004Houston, TXReliant Stadium ( only)
March 21, 2004Greensboro, NCGreensboro Coliseum
March 23, 2004Philadelphia, PA Center
March 24, 2004, MAFleetCenter
March 26, 2004Hampton, VA
March 27, 2004, NC
March 28, 2004Atlanta, GAPhilips Arena
March 29, 2004, OHGund Arena
March 30, 2004, INConseco Fieldhouse
April 1, 2004, MN
April 2, 2004Rosemont, IL
April 3, 2004Auburn Hills, MI
April 4, 2004, MOSavvis Center
April 6, 2004, PAMellon Arena
April 9, 2004Hartford, CTHartford Civic Center
April 10, 2004Uniondale, NY
April 11, 2004MCI Center
April 12, 2004, NY
April 15, 2004Phoenix, AZAmerica West Arena
April 16, 2004, NV Events Center
April 17, 2004Anaheim, CAArrowhead Pond of Anaheim
April 18, 2004Oakland, CA
April 19, 2004Anaheim, CAArrowhead Pond of Anaheim
April 20, 2004, CAStaples Center
April 21, 2004Anaheim, CAArrowhead Pond of Anaheim

Commercial Performance

The Verizon Ladies First Tour generated $20.1 million in gross revenue across 29 dates in 2004. This figure equates to approximately $33.5 million in 2025 dollars, reflecting the tour's substantial financial impact adjusted for inflation. The tour sold 280,865 tickets out of 363,097 available seats, achieving an overall capacity of 77%. The outing demonstrated robust market performance amid competition from major acts like Prince and Celine Dion. Sales were particularly strong in key urban centers such as New York and Los Angeles, where demand drove multiple sellouts and high attendance rates.

Reception

Critical Response

Critics widely praised the Verizon Ladies First Tour for its empowering showcase of female talent in R&B and hip-hop, highlighting the performers' live vocal prowess and the event's role in affirming women's prominence in male-dominated genres. Jon Pareles of The New York Times described the concert at Nassau Coliseum as a blend of talent and spectacle that demonstrated how Beyoncé, Alicia Keys, and Missy Elliott "earned their due" in hip-hop, emphasizing their strong stage presence and diverse styles from soulful piano to booming beats. Similarly, a Variety review noted the lineup as a "dream" assembly of top urban female artists, with each delivering full headliner sets that underscored their vocal and performative strengths. Alicia Keys received particular acclaim for her emotional piano performances, where she showcased resonant vocals on hits like "," transitioning seamlessly from funky interludes to cabaret-style intimacy. Beyoncé's energetic drew high praise, with her commanding on tracks such as "Baby Boy" and "" earning descriptions as "the show," including an report that highlighted her as stealing the spotlight among the ensemble. These elements contributed to the tour's consensus as a diverse celebration of R&B and innovation, blending , , and influences. However, some reviews pointed to occasional lack of cohesion between the acts, as the varying styles—from Keys' soulful to Elliott's razzle-dazzle routines—sometimes felt disjointed in the shared billing. Missy Elliott's sets were criticized for their brevity, often around 40-45 minutes, which limited deeper engagement and made her performance seem truncated compared to the others, despite her agile raps and tributes. A NUVO echoed this, noting the overall spectacle overshadowed substance due to time constraints, though Keys' stood out as a highlight. Despite these critiques, the tour was generally lauded for its artistic merits and promotion of female solidarity in music.

Notable Events

One of the standout moments of the Verizon Ladies First Tour occurred at the concert on April 12, 2004, where surprise guest appearances elevated the energy of the performances. Rapper joined the stage during the show, contributing to collaborative segments that highlighted the tour's theme of through musical . Visual records from the event capture the lively atmosphere and celebrity crossovers that drew significant attention to the all-female headliners. The tour concluded at the Arrowhead Pond in Anaheim on April 21, , marking an emotional capstone to the 30-date run. Beyoncé's set featured dynamic costume changes and high-energy renditions of hits like "Baby Boy" and "Naughty Girl," showcasing her commanding stage presence, while transitioned from dance sequences to intimate piano-driven numbers for added depth. opened with theatrical elements, including dancers and a dramatic entrance, though audience engagement varied across her 40-minute performance of tracks such as "Work It." The tour had a lasting cultural impact by amplifying visibility for female artists in R&B and during , serving as a landmark arena package of major Black women performers that underscored their mainstream prominence. This all-women lineup was seen as an overdue , akin to influential multi-act tours in other genres, fostering greater representation and celebration of diverse female talents in music. Its legacy extended to later productions, such as Missy Elliott's 2024 "Out of This World" headlining tour, which referenced the event as a key co-headlining precursor in her career trajectory. Fan-recorded footage and professional clips from various shows have preserved the tour's live dynamics, with remastered versions circulating online to highlight setlist variations across dates—such as extended medleys or ad-libbed transitions in Beyoncé's portions at select venues like and Uniondale. These recordings offer insight into the improvisational elements that added uniqueness to each performance, beyond the standard format.

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