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Metric Embarks On North American Tour In Support Of 'Art of Doubt'

In support of their seventh studion album, 'Art of Doubt,' Canadian rockers Metric are kicking off a headlining tour in North America.

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The vinyl artwork for Metric’s new album, Formentera, includes a motto that sums up the past few years: This Is What Happened. It’s an understatement that manages to say everything. 

Even real places become imaginary when they are so far out of reach. Named for an idyllic island near Ibiza off the coast of Spain, Formentera is a place that, for Metric, only existed on a page in a “dream destinations” travel book that lay open on a desk in the new recording studio that guitarist Jimmy Shaw built in 2020, in a rural hamlet north of Toronto. This is the setting where the band’s eighth album took shape. 

Metric’s sound is both genre-defying and genre-defining. Emily Haines, Jimmy Shaw, bassist Joshua Winstead and drummer Joules Scott Key started playing together in NYC in 2001. They are just getting started.

The band will be hitting the road on a North American headline tour, The Doomscroller Tour, and have partnered with PLUS1 so that $1 per ticket goes to supporting War Child and their work to empower children and families in communities affected by war throughout the world.

"One of the high points of 2022 for us has been working on putting everything together for The Doomscroller Tour," says frontwomen Emily Haines.  "We’re crafting a set list based on fan favorites including deep cuts from Live it Out & Old World and it’s been wild to see how the new songs from Formentera flow with the classics from Fantasies &  Synthetica. I’m really happy with the venues we chose, they suit the lighting and sonics and the whole mood of the show we’re crafting. I want Metric fans to have the best concert experience possible and feel like they got to escape into another reality with us for the evening. Can’t wait to get this show on the road!"

Check out the “All Comes Crashing” music video here - https://youtu.be/_GesZGGvlNc

Doors open at 7PM. Show starts at 8PM. This is an All Ages Event. Scheduled Support : TBA To purchase tickets on the day of the event after 5PM, please visit the House of Blues Box Office at the venue located at 2200 North Lamar Street in Dallas. All sales are subject to increase the day of the show. Support acts are subject to change without notice. This venue has a Clear Bag Policy.

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Metric North American “The Doomscroller Tour” To Kick Off This August

Metric Unveil New Song + Video “All Comes Crashing”

From forthcoming eighth studio album formentera, set for release july 8th.

Today,  Metric  share a new single and video “ All Comes Crashing ;” Listen/share  HERE  and watch/share the video  HERE . 

“All Comes Crashing” is the first offering from Metric’s upcoming eighth studio album,  Formentera , set to release on  July 8th . “Not everyone has a conventional life with conventional relationships,” says front woman  Emily Haines . “‘All Comes Crashing’” is a love song that goes beyond romantic love, it’s an expression of solidarity with whoever it is you would want to have beside you in the event of catastrophe. It might be your best friend, it might be your blood brother or your dog. The song is dedicated to those you consider your family, whatever that looks like for you.” 

The words  This Is What Happened  flash across the screen in the video and have come to serve as the band’s motto as they reckon with the events of the last few years—a band at its peak of creative power attempting to decipher the turbulent world around us, with Haines positioned like a lightning rod in the midst of it, emerging with a fresh new album that sounds like essential Metric.  

The band will be hitting the road on a Live Nation produced North American headline tour,  The Doomscroller Tour , set to kick off this August in Victoria, BC with stops in 39-cities. Complete list of dates below. Metric has partnered with PLUS1 so that $1 per ticket goes to supporting War Child and their work to empower children and families in communities affected by war throughout the world.

“We’re crafting a set list based on fan favorites including deep cuts from  Live It Out  and  Old World , and it’s been wild to see how the new songs from  Formentera  flow with the classics from  Fantasies  and  Synthetica ,” says Haines. “…I want Metric fans to have the best concert experience possible and feel like they got to escape into another reality with us for the evening.”

Tickets for The Doomscroller Tour go on sale to the general public on Fri, May 6 at 10am local time. View the full list of tour dates and get tickets   HERE .

Metric are a critically-acclaimed Toronto rock band consisting of  Emily Haines ,  James Shaw ,  Joshua Winstead  and  Joules Scott Key . Their last album  Art of Doubt  was released in 2018 to praise from NPR Music,  New York Times ,  Rolling Stone  and more.

Praise for Metric:

The New York Times

“The group’s pulsating synthesizers and looming guitars carry new-wave urgency into the 21st century.”

“… Art of Doubt  is the sound of a band that’s only reinvigorated by the arrival of its 20th anniversary.”

“Emily Haines leads her band into their seventh album with their own sound… full of big, broad rock anthems.”

“Partly inspired by the chaotic state of the world, the group is ready to rock again”

“Defiance never sounded so good.”

“one of our favorite albums of the year”

August 11—Royal Theatre—Victoria, BC* August 12——Royal Theatre—Victoria, BC* August 13—Orpheum Theatre—Vancouver, BC* August 15—Southern Alberta Jubilee Auditorium—Calgary, AB* August 16—Southern Alberta Jubilee Auditorium—Calgary, AB* August 17—Edmonton Convention Centre—Edmonton, AB* August 19—Conexus Arts Centre—Regina, SK* August 20—TCU Place—Saskatoon, SK* August 21—Burton Cummings Theatre—Winnipeg, MB* August 25—London Music Hall—London, ON† August 26—Budweiser Stage—Toronto, ON‡ August 27—National Arts Centre—Ottawa, ON† August 29—MTELUS—Montreal, QC† August 30—Théâtre Capitole— ​​Quebec City, QC† September 1—Rebecca Cohn Auditorium—Halifax, NS† September 2——Rebecca Cohn Auditorium—Halifax, NS† September 24—The Orange Peel—Asheville, NC September 25—Brooklyn Bowl—Nashville, TN September 26—Tabernacle—Atlanta, GA September 28—House of Blues Dallas—Dallas, TX September 29—House of Blues Houston—Houston, TX September 30—ACL Live at The Moody Theater—Austin, TX October 2—The Van Buren—Phoenix, AZ October 3—The Observatory North Park—San Diego, CA October 6—The Wiltern—Los Angeles, CA October 7—The Fillmore—San Francisco, CA October 11—McMenamins Crystal Ballroom—Portland, OR October 12—Moore Theatre—Seattle, WA October 14—The Depot—Salt Lake City, UT October 15—The Fillmore Auditorium—Denver, CO October 17—The Fillmore Minneapolis—Minneapolis, MN October 18—Chicago Theatre—Chicago, IL October 19—The Fillmore Detroit—Detroit, MI October 21—The National—Richmond, VA^ October 22—The Fillmore Silver Spring—Silver Spring, MD October 23—The Fillmore Philadelphia—Philadelphia, PA October 25—House of Blues Boston—Boston, MA October 26—Brooklyn Steel—Brooklyn, NY^ October 27—Brooklyn Steel—Brooklyn, NY^

*with Dear Rouge †with Bartees Strange ‡with Interpol, Spoon and Bartees Strange

^Not a Live Nation Date

FOR MORE INFORMATION PLEASE CONTACT SAMANTHA TILLMAN,  KATE RAKVIC OR CARLA SACKS AT SACKS & CO., 212.741.1000, [email protected] , [email protected] OR  [email protected]

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Metric , 18 October 2022

About concert Metric in Chicago, IL

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About Metric

Metric is a Canadian rock band founded in 1998 in Toronto, Ontario. The band consists of Emily Haines (lead vocals, synthesizers, guitar, tambourine, harmonica, piano), James Shaw (guitar, synthesizers, theremin, backing vocals), Joshua Winstead (bass, synthesizers, backing vocals) and Joules Scott-Key (drums, percussion). The band started in 1998 as a duo formed by Haines and Shaw with the name "Mainstream". After releasing an EP titled Mainstream EP, they changed the band's name to Metric.

The band's first studio album, Old World Underground, Where Are You Now?, was released in 2003. Live It Out, released in 2005, was nominated for the 2006 Polaris Music Prize for the "Canadian Album of the Year" and for the 2006 Juno Awards for "Best Alternative Album". Their third studio album, Grow Up and Blow Away, was recorded in 2001; it was initially planned as their debut album, but was delayed for many years and finally released, with some changes, in 2007.

Metric's fourth album Fantasies was released in 2009. It was shortlisted for the 2009 Polaris Music Prize for "Canadian Album of the Year", and won the "Alternative Album of the Year" at the 2010 Juno Awards. Metric also won the 2010 "Group of the Year". The fifth Metric studio album, Synthetica, was released in 2012. The band won two awards at 2013 Juno Awards: "Alternative Album of the Year" for Synthetica and "Producer of the Year" for Shaw. The art director/designer/photographer Justin Broadbent also won an award for "Recording Package of the Year" for Synthetica. Metric's sixth album, Pagans in Vegas, was released in 2015.

Their seventh full-length record, the Justin Meldal-Johnson produced Art of Doubt, was released on September 21, 2018.

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Metric at The Chicago Theatre in Chicago, IL on Oct 18, 2022

Tue. oct 18, 2022.

Show - 7:30 PM

The Chicago Theatre

175 North State Street

Chicago, IL 60601

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Metric, formed in 1998 by Emily Haines and James Shaw, is a Canadian synth-pop, new wave and indie-rock band, hailing from Toronto, Ontario, Canada.

Metric, originally formed under the moniker Mainstream, was founded in 1998 by Emily Haines and James Shaw. Having studied at the Etobicoke School of the Arts, Haines met future Broken Social Scene member Kevin Drew and the future Stars and Broken Social Scene member Amy Millan, the latter of which Haines briefly formed a band with in 1990. James Shaw is a Boston Music School graduate, as well as a Juilliard Music School graduate, after which he moved to Toronto where he met Haines. By 1998 the pair had moved to Montreal, Canada, and recorded a 5-track EP entitled “Mainstream”, noted for its downtempo and electro style.

In 2000, having caught the attention of London-based producer Stephen Hague, Metric moved to London, UK and signed a publishing deal with Chrysalis Records. Feeling restricted by the deal however, the duo moved back to New York City in November 2000 and began working on their debut album “Grow Up and Blow Away”, which wouldn’t find a released until 2007. The five-track EP “Static Anonymity” arrived in 2001, featuring both upbeat and downtempo songs, and showcasing the group’s electronic layering prowess. In late 2001 looking to expand the scope of their live performance, Haines and Shaw enlisted the services of drummer Joules Scott-Key and bassist Joshua Winstead.

Metric’s first official full-length album “Old World Underground, Where Are You Now?” was released 2003 on Everloving Records. The critically acclaimed release became a stepping stone for the band’s success, aided by the videos “Combat Baby”, “Calculation Theme”, “IOU”, and “Succexy”. The band’s sophomore album “Live It Out”, was released in 2005 by Last Gang Records, significantly out-performing its predecessor, later being certified double platinum in Canada. Supported by the singles “Monster Hospital”, “Poster of a Girl”, and “Empty”, the band promoted the album by touring in support of the Rolling Stones in New York City, and Bloc Party in the UK. Following subsequent touring of the UK, including Reading and Leeds Festival, and the rest of the world, including shows in France, Germany, Brazil, Norway and Japan, the band took a hiatus.

During the hiatus, Haines released two records as Emily Haines & the Soft Skeleton, Shaw opened a recording studio, and Scott-Key and Winstead formed the band Bang Lime. Metric’s subsequent full-length “Fantasies” was independently released in April 2009, marking the group’s most successful to date. Selling over 250,000 in one year, the album led to the group winning the 2010 Juno Awards for Alternative Album of the Year and Band of the Year. In support of the album, Metric played shows at Coachella Music Festival and Ottawa Bluesfest, and performed across Canada alongside Tokyo Police Cub and The Dears.

After contributing to the soundtracks of “Twilight Saga: Eclipse” and “Scot Pilgrim vs. the World”, Metric toured in support of Muse and released the remix album “Fantasies Flashback” in 2011. The full-length “Synthetica” was issued in July 2012 on the band’s own Metric Music International label. Led by the single “Youth Without Youth”, the album once again won the Juno Award for Alternative Album of the Year, and also saw James Shaw win the award for Producer of the Year.

Live reviews

The concert itself was excellent, although my OH said they were better the last time she saw them. For me, i was really impressed as the show went on as the band warmed up and they got the crowd going.

There was a good mix of old and new stuff. We had taken our 4 kids along of varying ages and the youngest was so tired that she fell asleep but she loved what she listened to. How she managed to fall asleep with that much noise i will never know (the mandatory earplugs provided by the venue probably helped).

What wasnt good (and i want to comment on this because I dont want other fans to be taken in for what i believe to be a complete con) was the meet the band bit organised by (live nation?). I had bought this for my fiancee and then had to buy another one as she didnt want to do it alone. With booking fees, delivery etc these tickets were nearly £100 each. For this they got to chat to the band (briefly), have 1 photo (which had to be approved by the band/promoter) and they got a signed pic and a lanyard that said VIP on it.

As true fans who will, unfortunately, stay as long as it takes to meet whatever band they go to see, this is a total waste of money. The only people who got to sit in the VIP area (in this case the tabled section in the balcony) were the two ladies who worked for vip nation? or whatever they were called.

Definitely see metric if you can. Buy their album. Listen to them on spotify. Support live music. Oh and the support act was good. Check him out.

Just go to 3 gigs rather than waste your money on what effectively amounts to a signed poster and a pic with the band. We have always got both of the above before without having to shell out at least 3 times the normal ticket price.

In summary a great end to their tour.

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For those either well versed in the Metric opus or those only acquainted with their most recent hits the Cureapalooza V.3 show was a complete eye opening success. The front band, The Elwins, did a superb job stoking the crowd of nearly 1,000 to a feverish pitch. When Metric hit the stage the audience was overwhelmed with a sound and light plethora that few had ever seen up this close before. Fortunately, I got there prior to the tidal wave of fans and was mere feet away from the stage. At Metric's previous show at the Scotia Bank Arena in April I sat in the VIP section which was nothing compared to last night's 'up close and intimate' affair. The range of songs interspersed with driving tempos and melodic renditions captivated all in attendance. It may be said by some naysayers that all in attendance were die-hard fans, but I went with someone relatively unfamiliar with Metric's work and as she bounced and gyrated to the beat I knew she was hooked! Guitars and percussion were bang on and wildly animated. Emily Haines' voice traversed the gamut of songs in fiery fashion. Her gymnastic gesturing convinced everyone that she was the Queen holding court. I still don't know how Emily can move so gracefully, yet dynamically and still lay out those lilting sounds with ease. All in all, coupled with a multi song encore, Metric demonstrated once again their powerhouse placement in not only Canadian, but International music rankings. Dan Bowyer~~~~~

I saw Metric for the first time at the Deck the Hall Ball in Seattle, Washington at the Key Arena. What an amazing experience. It was one of my first concerts, actually. It was a long time ago, but I remember it vividly. Even though they were a minor part in a large concert series, you could tell that they were a bit naiive and maybe even unexperienced, yet very excited to be there. The group let off a vibe that got the rest of the crowd excited- not only for their show, but all of the ones coming up as well. Emily Haines' sultry sound resonated throughout the building, filling up the stadium to the very back row. The entire band- particularly James Shaw, the lead guitarist, seemed ecstatic to be there. They all danced giddily and interacted with one another in a unique way, almost as if they were experiencing as one soul. Yet- they were all apart from the whole as well, each producing their specially assigned component that is vital to the 'Metric' sound. The intense guitar chords kept the crowd's head bobbing, the fast-paced kick-drum ensured that the seated fan's feet were tapping, and the bass kept the general admission jumping. I look forward to seeing Metric perform again in the future. I know that their sound will continue to progress and develop and mature.

Metric are a four piece indie rock band, led by cooler than cool female vocalist Emily Haines. Originating from Toronto, Canada and founded in 1998 this band are incredibly tight, with perfect on stage chemistry and a look straight from the fashion pages of Vice magazine. Metric have mostly played smaller venues in the USA and Europe, often opening for some of the world's most exciting bands such as Modest Mouse, Arcade Fire and The Rolling Stones. But Metric are so much more than a support act. They have an old school 70's glam rock vibe and tonnes of raw sex appeal that is amazing to watch live. The music is catchy with a contagious beat, even those who haven't witnessed them before will start to move. The crowds aren't usually the most energetic dancers - but Metric don't seem to care with bassist Joshua Winstead dancing enough for everyone and Emily taking over the stage like a younger, sexier Deborah Harry. Songs to watch out for are fan favorites "Dead Disco" from the 'Old World Underground, Where are You Now?' album and "Gimme Sympathy" from the album 'Fantasies.' Fans can also look forward to some amazing bass and guitar solos but don’t expect much crowd to band communication, Metric would rather dance than check up on their admirers.

Metric was awesome for the 15 seconds that they were on stage. The collaboration was missing between the two bands. Metric has rad lights and a great set but none were present at this show. If Billy Corgan was put in the same position, he never would have gone on tour with what other opening act would have relegated him to "just an opener". For the record, Metric is NOT "just an opener". Metric deserved more time.

I loved the (extreeeeeeeeeeeeeeeeemly long) Smashing Pumpkins set but it was too long and I sadly found myself hoping that it was over sooner instead of leaving on cloud nine and craving that it would never end… weird. I was disappointed in the length of both bands.

I’m not sure if it was just poor planning or bullying and selfishness. After 18 years, it’s likely that BC was totally stoked to be back in front of his fans. Either way, I’ll be stalking Metric because I certainly didn’t get enough of them on September 5th.

Metric has just surpassed the Beatles as my favourite band. Yep. THE BEATLES.

Probably the only reason I say that is because you can't go back in time and see them live. But man, Metric here at the smaller Roseland Theater was better than seeing them at the Moda Center. They're genuinely talented musicians. Hearing them live is even better than they're already exceptional recordings. And they're so great to their fans. Metric isn't a band touring to get publicity for their new album. They perform because they love music. And they love people that share that love.

Metric is fan loyal. I love that. Every artist could learn a lot from Metric as far as performance, fans, and being true to who you are is concerned.

Thank you for the best concert of my life, Emily, Jimmy, Josh and Joules. That hour-long stand in the rain was more than worth it.

Phenomenal venue and a speechless performance. ☆☆☆☆☆ I loved so much that the band has the vip show members on stage to sing with them and also the wide variety of songs they performed. I saw them open for imagine dragons in Omaha which wasn't too great personally due to the lack of intimacy since it the show was held in an huge arena and tickets were Hella expensive, not to mention they weren't the headliners. I also saw them in Tulsa at Caines ballroom which was also a very nice venue that had less attendees so it was roomy for the patrons. But this venue and show was by far the best experience I've had seeing one of my favorite bands.

Saw Metric twice! First time in San Diego this was a great concert even with the "interesting" weather! Thankfully it cleared before Metric hit the stage and We thoroughly enjoyed the night! Our second time was in Riverside at the Riverside Municipal Auditorium! A very beautiful venue! The show was full of energy and Metric was great! Sadly the sound was off, several other fans and I discussed this, Emily's vocals were too low and the guitar and bass almost drowned her out :( I have seen other shows here and this was not a problem then so I don't know what was going on. Other than that Metric rocked the house!!! I LOVE Metric!!!!!

It was fabulous! The wind made an appealing touch, the lighting was wild, and of course the music was outstanding :) the people around me were kind of lame, but I stood up alone and grooved my lil heart out. I was dancing solo, but who cares when you have an A+ band preforming for you ,right? I was so into the music, after a few minutes nothing else mattered except me jamming out to one of my favourite bands ❤ come back soon please! Had an amazing time, and I truly mean it. Imagine dragons was FAB too:) thanks guys for coming out! Higily appreciated

Do you have a band you love so much you'd suspend your life for a while to follow them on tour, city to city, like a modern-day Deadhead? That's me and Metric. I haven't actually followed them, but I've seen them twice at the Masonic, and also when they opened for another artist last year in Oakland.

Metric put on a tight, focused show last night, with an emphasis on the more familiar hits from their large catalog. The sound mixing and light effects were on point, and overall it was another magnificent show.

I can't want to see them again.

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Metric tour dates and tickets 2024-2025 near you

Want to see Metric in concert? Find information on all of Metric’s upcoming concerts, tour dates and ticket information for 2024-2025.

Metric is not due to play near your location currently - but they are scheduled to play 8 concerts across 2 countries in 2024-2025. View all concerts.

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• Jun 29 2024 7:00 PM Sat Metric Hard Rock Live Northern Indiana 46406, 5400 West 29th Avenue, Gary, IN, US Prices from $42 Avg. price ~ $121 Available Tickets: 169 Tickets

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Days Of Oblivion Tour

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• Jun 28 2024 Summerfest 2024 Milwaukee, WI, USA Add time  –  Scheduled: 7:30 PM Add time Add times 7:30 PM

Metric at Just Like Heaven 2024

• Gold Guns Girls
• Satellite Mind
• Help I'm Alive
• All Comes Crashing
• Days of Oblivion
• Breathing Underwater
• Doomscroller
• Black Sheep
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Metric at Ogden Twilight 2024

• Gimme Sympathy

Metric at Paramount Theatre, Denver, CO, USA

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Metric at Shaky Knees Music Festival 2024

Metric at the orange peel, asheville, nc, usa, metric at the norva, norfolk, va, usa.

• Dark Saturday
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Metric at Primavera Sound São Paulo 2023

• Combat Baby
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• What Feels Like Eternity

Metric at Teatro Coliseo, Santiago, Chile

Metric at indie rock fest 2023, more from metric.

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• Black Sheep ( 381 )

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Adaleve Anamanaguchi Bam Thwok BLYTZ Broken Social Scene Cavetown Cigana Cute Machines Daisy Grenade Dear Rouge The Evan Williams Project Feed Me Girl with a Boy Name Lonnie Gunn Cameron Hayes Hotel Mira Just Kacey Kississippi Linka Moja Amy Millan Minimum Mom Rock Kailee Morgue Motion City Soundtrack Nevasca The Order of Good Cheer Glen Phillips POESY Professor Shyguy Reality Club Rock Melon Jamie Rumley Santa Madero Scam Likely Series Break Sluttony VIAL wilt Zeph

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Artists covered

Blur Broken Social Scene Buffalo Springfield Bob Dylan Emily Haines & The Soft Skeleton Gwen McCrae Pink Floyd Lou Reed Silver Jews The Strokes Tame Impala The Velvet Underground Neil Young & Crazy Horse

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4,985 people have seen Metric live.

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Riot Fest announces shakeup with new location, lineup: Fall Out Boy, Beck, Slayer

There's been a shakeup ahead of Riot Fest 's return to the Chicago area this fall.

The festival has released its lineup and announced a move. Fall Out Boy , Beck , Slayer and St. Vincent lead the lineup for the Chicago-based music festival, which is set to move from Douglas Park to SeatGeek Stadium in Bridgeview, Illinois.

The event's co-founder, Mike Petryshyn, made the location change announcement in a statement on Tuesday, blaming the park's manager for its "lack of care for the community, you and us," leaving organizers "no choice."

Despite the move, the festival is still planning on bringing its mix of punk rock and hip-hop to Illinois this fall; the three-day festival is set for Sept. 20 to 22, with additional appearances by Public Enemy , Sublime, Rob Zombie, Tierra Whack and more.

Here's what you should know about Riot Fest 2024.

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Riot Fest 2024 lineup

The festival announced the Riot Fest lineup on Wednesday, with Fall Out Boy set to headline Friday, Beck set to headline Saturday and Slayer, who is set to reunite after announcing their retirement in January 2018, will headline Sunday.

Here is the festival's lineup, in part:

• Fall Out Boy
• Public Enemy
• St. Vincent
• The Marleys (Ziggy, Stephen, Julian, Ky-Mani and Damian)
• Cypress Hill
• Lamb Of God
• Tierra Whack
• Taking Back Sunday
• Bright Eyes
• Beach Bunny
• Hot Mulligan
• Manchester Orchestra
• Oliver Tree
• Poison The Well
• Suicidal Tendencies
• Waxahatchee

View the full Riot Fest lineup on its website.

Riot Fest 2024 tickets

Two-day and three-day tickets are currently on sale for Riot Fest on its website . VIP and deluxe packages are also currently on sale.

Three-day passes come in at just under $250, while two-day passes are just under $190. Single-day tickets have yet to be announced.

Garbage’s Shirley Manson excited about band’s victory ‘lap of honor’ on Noel Gallagher tour

Garbage is currently touring in support of its 2021 album “no gods no masters,” which manson says was “much more political than we have ever been and probably ever will be again.”.

Garbage features Steve Marker (from left), Duke Erikson, Shirley Manson and Butch Vig.

For Garbage singer Shirley Manson, touring with former Oasis member Noel Gallagher and his current band, the High Flying Birds, makes perfect sense. In addition to playing major roles in shaping alternative rock, both bands’ paths to success are interwoven from way back.

“Noel Gallagher and Garbage go back a long way,” Manson said during a recent interview. “We all started playing out on these big American radio festivals back in the ’90s.”

Gallagher was one of her earliest supporters, Manson said. When they first met, it was during ’90s Brit pop, which didn’t always have a “very friendly atmosphere to women,” she said. But Gallagher encouraged her to keep singing.

“Noel doesn’t remember this, but we met a long time ago, and he was so cool to me that I’ve always had nothing but love for him,” she said. “He has a special place in my heart, so I’m excited to go out [to tour] with him. He’s one of Britain’s premier songwriters.”

It also makes sense to return to play Chicago, a city extremely familiar to both artists. For Garbage, it was a short drive from their hometown of Madison, Wisconsin. Manson’s favorite memory was pre-Garbage, when the others asked her to join the band.

“My previous band was playing at Metro in Chicago, and they came to see me play there, and that’s where my whole career kicked off,” she recalled.

“Being that we’re a Madison-based band at the time, Chicago was the first premier city that we visited to play,” she continued. “It’s a great city and we’re excited to play [there].”

The band is touring to support its 2021 album, “No Gods No Masters,” which Manson said was “much more political than we have ever been and probably ever will be again.”

“We had gotten to the point where we really couldn’t keep our opinions to ourselves any much longer,” she said. “I think we felt that so many things were under threat, that we really had to just get some things out on record, which we did, and it felt so good to do so.”

When she sings these songs live, they “always get a quite surprisingly strong reaction from the crowd, which is always a really great sign.”

“In the middle of ‘The Men Who Rule the World,’ the audience would cheer whenever I got to a certain line,” she said. “You can’t ask for a better reaction than that when people actually participate in the show, that you’ve struck a chord with an audience.”

After touring last fall with Alanis Morissette, the band got back into the studio to start jamming on some new material. They’re looking forward to working on that new music later this year and releasing it at some point.

“It’s difficult to see what a record’s going to be like until you finished it,” Manson said. “With Garbage, songs can take wild turns in the studio process. So, it starts off as one thing and can end up as another. … We do try and make sure that every record that we ever put out is different from the previous one as a matter of pride and arrogance.”

Manson is thankful for all the enthusiastic support it’s received from fans the last three decades. This year marks the 25th anniversary of the band’s sophomore album “Version 2.0,” a fact that astounded Manson (“I’m ashamed to say I didn’t even know that it was our 25th anniversary. I mean, It’s a startling fact,” she said) and reminded her to include some of the album’s songs in its sets.

“Just to endure the music industry for this long is a spectacular triumph for any band. I don’t think we take that lightly,” she said. “We’ve worked really hard. We’ve played and played and played, and we’re now really confident that we’re a pretty good live band.”

“But we do realize that we’re one of the few survivors from our generation, and we don’t take that lightly,” said Manson. “That’s an insane privilege as a musician to be able to play this long, to make records for this long. It’s extraordinary. The same goes for Noel Gallagher. He’s been around a long time. So I think this will be a little bit of a lap of honor for both bands.”

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Mariners' Catcher Tied Atop League Leaderboard in This Clutch Category

Brady farkas | 11 hours ago.

• Seattle Mariners

The Seattle Mariners beat the Chicago White Sox on Tuesday night to run their impressive record to 39-30 on the season. The M's, who haven't won an American League West title since 2001, are now 6.5 games up on the Texas Rangers and 7.5 games up on the Houston Astros.

For the second straight night, M's catcher Cal Raleigh provided the late-game heroics in the win. After hitting a walk-off grand slam on Monday, Raleigh hit a two-run double in the seventh inning on Tuesday.

In fact, the flare of the dramatic has been relatively commonplace for Raleigh this year, who is now tied atop this clutch leaderboard, according to @MarinersPR on social media:

Cal Raleigh's 7th-inning, go-ahead double was his 6th go-ahead or game-tying hit in the 7th-inning or later this season, tied for the most in @MLB.

Cal Raleigh's 7th-inning, go-ahead double was his 6th go-ahead or game-tying hit in the 7th-inning or later this season, tied for the most in @MLB . — Mariners PR (@MarinersPR) June 12, 2024

The 27-year-old Raleigh hit a game-tying grand slam earlier in the year against the Minnesota Twins, and also hit the historic drought-breaking home run in 2022 against the Oakland Athletics.

Not much of an average hitter, Raleigh is hitting .211 this year with a .290 on-base percentage, however he has 12 homers and 42 RBI. Raleigh, who was a third-round pick of the Mariners in 2018, hit 30 home runs a season ago to lead all catchers.

The M's and White Sox will play game three of a four-game set on Wednesday night at T-Mobile Park. First pitch is set for 6:40 p.m. PT as Bryce Miller (SEA) pitches against Jonathan Cannon.

Follow Inside the Mariners on social media

Continue to follow our Inside the Mariners coverage on social media by liking us on  Facebook  and by following Brady on "X" @ wdevradiobrady

RELATED MARINERS CONTENT

1) Julio Rodriguez now leads baseball in this stolen base category

2) Jeff Passan takes hilarious shot at M's on radio spot on Tuesday

3) Cal Raleigh plays the part of hero again on Tuesday as M's beat White Sox

BRADY FARKAS

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How Debt Ate Chicago

Mounting liabilities are the greatest threat to the city’s survival.

A fight broke out late one Saturday night, or, more accurately, early Sunday morning, at a bar on Chicago’s South Side. Someone called the police just after 4:30 am . But the police didn’t come . The fight soon moved outside; one man issued a threat, got into his car, and then plowed it into the crowd, just before five o’clock. Three people were killed. Still no police. An officer wasn’t dispatched until 5:20 and didn’t arrive until more than an hour after the original call.

Chicago faces a dire police shortage. (See “Can We Get Back to Tougher Policing?,”) Over half of high-priority 911 calls had no cops available to respond. One important reason is that the city is now allocating almost half of its budget to debt and pensions, leaving ever less for essential services, including public safety. The municipal government is acting more like a conduit channeling money from residents to check-collectors than a protector of its citizens’ rights and liberties.

Chicago has dominated America’s heartland since the late nineteenth century. As the City of the Big Shoulders, it has been a place whose self-reliance and drive allowed it to compete with coastal metros boasting more obvious advantages. Chicago’s landscape and weather may leave something to be desired, but the city’s combination of cosmopolitanism and localism, embodied in its diverse neighborhoods, has helped give it a distinctive American personality. Yet bad services, corrupt politics, and elevated crime have made life in Chicago increasingly unpleasant, all worsened by the city’s parlous finances.

An ever-mounting debt burden is the greatest threat to the city’s survival. As that problem worsens, more residents will question whether they want to stay in a windswept city paying down someone else’s pension—or decamp for places that don’t place such a millstone around their citizens’ necks.

According to the group Truth in Accounting, Chicago continues to live up to its moniker “Second City” in at least one respect: it has the second-worst debt load of any big city in America—about $43,000 per taxpayer, or almost $40 billion in total. The first is New York City, but Chicago residents also have to deal with Illinois’ debts , which total $42,000 per taxpayer, third worst in the nation. Thus, a family moving to Chicago suddenly becomes the inheritor of almost $85,000 in liabilities. By this metric, Chicago is no longer second but has by far the worst debt burden of any major city.

Chicago’s accumulating debt might be bearable if the city had low taxes and therefore room to raise them and pay down some of the liabilities. But taxes in the Windy City already rank among the nation’s harshest. According to a national study, Chicago’s combined city and state taxes would eat up over 12 percent of a U.S. median family income. The only large cities with higher proportionate taxes are Rust Belt towns with much smaller populations, such as Detroit and Newark. Chicago imposes the highest sales tax of any major city (10.25 percent) and punishing property taxes, too.

Chicago’s taxation is also brutal on businesses. A recent study of 53 cities found that Chicago’s tax on industrial properties was nearly double the average of other cities. Chicago’s commercial property-tax rate, at more than 4 percent per year, was by far the worst of any major city and more than twice the average.

High debt and taxes might be manageable if the city’s economic fundamentals were strong. They’re not. Chicago relied for years on commercial properties, especially downtown offices in the Loop, to power its economy and fund the city’s excesses. But those jobs are fleeing. Downtown Chicago’s office vacancy rate recently approached 24 percent, a record high. Boeing has moved its headquarters from the Loop to Northern Virginia. These white-collar firms will not pay the city’s higher taxes in the future; they won’t even pay their existing leases.

Making matters worse, Chicago’s population is shrinking. Chicago hit its peak population 70 years ago, and it has contracted further since the early 1990s, when many other big cities began to revive. At about 2.7 million people, it’s still, barely, America’s third-largest city, but it’s a quarter smaller than it was about a half-century ago. Even if Chicago gets its fiscal house in order, continued population loss means that every resident will be taking on ever more debt and taxes. The city can’t be saved by the area’s surrounding dynamism, either. Both the Chicagoland metropolitan region and the state of Illinois have fewer people than they did before the financial crisis 15 years ago.

If the beleaguered remaining Chicagoans were wealthy enough to help support the city’s debt and taxes, that might see Chicago through its troubles. Once again, no such luck. Despite a high cost of living relative to the rest of the nation, the city’s median household income lags the national average, and its poverty rate is about 50 percent higher. The city is also losing its most successful workers and business owners. Data from Allied Van Lines show that Chicago in 2021 saw the most outmigration of any U.S. metro area, and Illinois the most of any state. Government tax data show that those who left the state earned north of $100,000 on average, well above the level of those moving in. CBS Chicago interviewed a Chicago woman whose property taxes had almost doubled in the previous year, to over $7,100, and had gone up by more than 1,000 percent in 20 years, which made her wonder whether the city was actually trying to push homeowners out. The flight of Ken Griffin, the state’s richest man, and his hedge fund, Citadel, to Florida exemplifies the outmigration of well-off families and individuals who could otherwise help shoulder the debt and taxes.

Unprecedented debt and punishing tax rates, a declining business sector, and a shrinking, poorer population: it’s no recipe for long-term success. Unfortunately, newly elected Chicago mayor Brandon Johnson will aggravate all these problems. A former member of the Chicago Teachers Union, he has made it clear that he wants to expand spending. When asked about the dire state of Chicago’s schools, he said that he would evaluate them not by their outcomes but by how much money they spent—the more, the better. His transition team advocated for a “Green New Deal,” including, more specifically, a “Green New Deal for Schools” and a “Green New Deal for Water.” He wants to spend up to $160 million a year on permanent housing and services for the homeless. And he has promised to keep Chicago a “sanctuary city” for immigrants, even as 10,000 migrants sat in city shelters and the city spent well over $130 million providing for them in 2023 alone.

Johnson admitted that property taxes were “painfully high” and in his campaign said that he wouldn’t raise them, instead vowing to “make the suburbs, airlines & ultra-rich pay their fair share.” He wanted to quadruple the transfer levy on expensive property, what he called a “mansion tax,” and impose a transaction tax on Chicago’s tottering finance industry. Much of Johnson’s tax plan either is impossible under existing law or serves more of a punitive than a fund-raising purpose. Illinois governor J. B. Pritzker, no anti-taxer, already said that he would block the financial transfer tax, and voters soundly rejected Johnson’s mansion tax.

Ironically for someone so interested in soaking well-off taxpayers, Johnson had been unwilling to pay off his own charges to the city. Despite previously earning a comfortable six-figure income, Johnson reportedly owed over $10,000 to the city in unpaid traffic tickets, unpaid water and sewer charges, and late fees and penalties. Only the public revelations, and a law preventing someone in debt to the city from taking office, forced him to pay down his bill.

Unfortunately for Johnson, even if he wanted to constrain spending and corral expenses, he has few options. In the past three years, 40 percent to 44 percent of all local budget went to the “fixed costs” of bond interest charges and pensions. Chicago is in a league of its own here. The next closest big-city competitor was Dallas, with just over 30 percent going to fixed costs.

Cutting spending is made still harder because about half of Chicago’s general government expenditures goes to public safety, a necessity in a city facing one of the nation’s worst murder rates. While Johnson once embraced “defund the police” rhetoric, he later pledged not to cut “ one penny ” from the police budget. His budget still eliminated hundreds of vacant and unfilled police positions—despite the fact that all the cuts to city payroll in recent years have been to the police force. The mayor also cited costs as a reason for canceling the city’s contract to deploy “ShotSpotter” gunshot-detection technology—despite the mayor’s own police superintendent praising the system and evidence showing that it allowed police to respond to shooting incidents quicker and helped them give hundreds of people lifesaving medical attention.

Chicago lacks much wiggle room to reduce salaries or benefits for its workforce. These obligations result from collective bargaining agreements with the city’s powerful municipal unions, of which Johnson is an inveterate friend. Chicago projected that its generous policies would swell unionized employees’ salaries and benefits by more than $200 million in 2024. The increase is the most important reason for the city’s deteriorating budget situation this year.

Nothing is simple about Chicago’s debt, so it is perhaps not surprising that traditional municipal bonds issued by the city are not the main source of its woes. The lion’s share of Chicago’s burden is its pension debt, totaling $34 billion, with another $2 billion for retiree health benefits. That is up from just over $20 billion in 2013. Unlike most other places in the United States, Chicago has barely pretended to fund its four major pension plans; it has assets for only about 25 percent of its pension obligations and nothing set aside for health care. It carries the most pension debt of any American city and more than the vast majority of states.

Both Illinois and Chicago tried to reform their pensions beginning in 2014, but two years later, the state supreme court decreed any reductions in vested pensions unconstitutional. This ruling left Chicago with little room for maneuver and led Moody’s to push Chicago’s debt into junk-bond status. The city, in turn, punished Moody’s by no longer sending it business.

In growing cities, large pension obligations can have limited effects, since new workers can help fund payments for longer-serving ones. But Chicago is not a growing city, making its pension debt doubly onerous. Its four major pension funds have 1.5 times more retirees and inactive members than current employees.

The debts and pensions of the city proper are only one part of the problem, since Chicago has one of the more confused governance structures in the nation. Residents need to worry not only about the liabilities of the city and the state but also those of the Chicago School District, the Chicago Park District, Cook County, and more obscure bodies like the Forest Reserve District and the Metropolitan Water Reclamation district.

The biggest debt culprit besides the city is the Chicago School District, which is about $18 billion in the hole, most of that for pension and health-care obligations. Cook County, of which Chicago makes up more than half, has another $15 billion in net liabilities. One could add the Chicago Transit Authority’s $1 billion-plus in net liabilities as well. These other government entities alone add more than half again to the local debt facing Chicago taxpayers.

Chicago has made something of an art form of creating overlapping governments. Inside the city itself lurk other government bodies with boards that it appoints but that carry debt that it struggles to distinguish from its own—the Chicago Public Building Commission, the Chicago Housing Authority, and the local Community College district all have their own budgets and liabilities.

Chicago is also infamous for its TIFs, or tax-increment financing districts, which pile on more owed money. TIFs issue bonds and make investments in infrastructure or real estate, and then pay off the bonds with property-tax revenue, which otherwise would go to the city budget or schools. The original goal of TIFs was to revive “blighted” areas. But now, about 125 TIF districts cover about a third of Chicago, with some running budgets comparable with those of cities and debts almost as large.

Chicago has faced debt crises before. Usually, the city found some outside savior or engaged in various maneuvers to find a way out. In the Great Depression, Chicago’s industries got hit harder than other places. By February 1932, the city government had stopped making payroll , and its emergency funds for hungry citizens were exhausted. Only the solicitude of the federal government and some loans to city banks and the city itself from the federal Reconstruction Finance Corporation (conveniently led for a time by a Chicago banker) averted a worse disaster.

Many of the city’s current debt problems originate with reckless spending by Mayor Richard M. Daley (son of the legendary Mayor Richard J. Daley) in the early part of this century. The basic tenet of long-term municipal debt is that it should be issued only to create long-term capital improvements, such as roads or bridges. Yet the Chicago Tribune analyzed $10 billion of general obligation bonds issued during the younger Daley’s tenure and found that $3 billion went to such things as legal expenses and maintenance—often in contravention of IRS rules that prohibit using tax-exempt bonds for such short-term expenditures. In one case, the city used tax-exempt bonds to provide back pay to police officers. It was using bonds not to pay future or even present costs, but past ones.

To save itself from its own profligacy, Chicago privatized some of its biggest assets. In 2004, it signed a 99-year lease for the Chicago Skyway Toll Bridge. Two years later, it signed another century-long lease for several parking garages. In 2008, it inked a 75-year deal to lease out its parking meters. In total, the city reaped $2.5 billion from the privatization deals. While privatization of assets has brought immense benefits to most cities that have engaged in it, providing steady funding while improving efficiency, Chicago quickly squandered most of the windfall. Though the parking-meter deal was supposed to create long-term stabilization funds, the city spent 85 percent of the money within two years.

The city’s debt problem swelled again after the financial crisis, when it kept pushing liabilities onto future citizens. Its net position, or all its assets minus its obligations, ballooned by almost $12 billion in the decade through 2021, largely because of soaring pension debt. Chicago saw the greatest increase in debt of any of the ten largest cities in the U.S.

Given this enormous burden, one would think that Chicago would try to get the best deals on selling or financing it. Yet in a strange inversion, the city has instead leveraged the size of its debt to force others to accept its progressive social causes. As the trade journal The Bond Buyer noted: “Chicago has long linked municipal bonds and social issues—with mixed results.”

In 2002, the city passed a disclosure ordinance requiring private firms that work with the city, including bond underwriters, to reveal whether they or any predecessor companies benefited from slavery. The now-defunct Lehman Brothers had to acknowledge the well-known fact that its namesakes purchased a slave—though it also found no evidence that the firm itself benefited from slavery—in order to secure a $1.5 billion bond deal for O’Hare Airport. City aldermen almost scuttled the contract to require further investigation. The chair of the council’s Subcommittee on Reparations recently complained that the city had not made previous slavery disclosure reports available to the council. How Chicago’s current residents will benefit from research about slavery ownership in the South over a century ago remains mysterious.

The city has also tried to push Environmental, Social, and Governance, or ESG, goals on banks. In 2018, then-mayor Rahm Emanuel proposed an ordinance that would prohibit banks from working with the city unless they signed an affidavit stating that they would endeavor to ban certain gun and ammunition sales. The proposed cost was so high that the city eventually scotched it.

Chicago is also trying to use the meager funds that it has saved in pensions for political projects. Johnson wants to invest the city’s woefully underfunded plans in “Chicago real estate developments with the mandate of hiring local residents from under-resourced and underserved communities”—an objectively bad bet, relative to other options. Recently, the Chicago City Council and the Chicago Teachers’ Pension Fund promised to divest from fossil fuels.

Struggling to fund its debt and pensions, Chicago has embraced gimmicks. As City Journal ’s Nicole Gelinas explained , in 2017 the city sequestered its sales-tax revenue to issue specially protected bonds, a financial-engineering project of questionable validity. (See “ Chicago’s Debt Dereliction ,” Autumn 2017.) Since that sale, a similarly engineered bond scheme in Puerto Rico faltered, and the territory has gone bankrupt. Investors began treating even Chicago’s sales-tax bonds as the equivalent of junk.

The city is trying to tap explicitly political investors. It issued over $150 million in “Chicago Social Bonds” to support various progressive causes, including “affordable housing” and addressing “the root causes of violence in the city”—a description that covers almost anything except insufficient policing. Chicago made a show of offering the bonds directly to city residents first and declared the effort a success when Chicagoans accounted for 8 percent of the purchases. Eleven ESG-focused investment funds bought the majority of the bonds, however, making it clear that the intent all along had been to dress up traditional spending as something worthy of ESG attention.

The largest holder of Chicago debt is Nuveen, a subsidiary of TIAA, the global private retirement behemoth. Nuveen and other bondholders are making a risky bet that the city will fund the bondholders as well as the pension recipients in a crisis. Yet we saw in Detroit’s bankruptcy that the U.S. political and judicial system pays little attention to bondholders when faced with needy pensioners. Still more concerning, Illinois does not allow large cities to file for bankruptcy. A serious municipal debt crisis in Chicago will have to be solved on the fly and will be unbelievably messy.

Like many large cities, Chicago got lucky during the pandemic. President Joe Biden’s American Rescue Plan dispensed funds to cities by a formula that gave preference to older, and generally more Democratic, municipalities. Chicago was a major beneficiary , receiving about $2 billion in federal aid. Thanks to the support, in 2022, the city ran a $300 million surplus and, for the first time, put in the required contribution for all four of its major pension funds. This led Moody’s to remove Chicago’s junk-bond status.

But Chicago retains by far the worst debt rating of any of the largest American cities, and it has done nothing to reform its bad habits. In 2022, the city saw a delay in property-tax receipts, and, despite the flush times, money proved so tight that the pension funds could not pay current retirees. The city had to provide an advance of over $500 million just to get the checks out the door. In September 2023, Mayor Johnson’s office announced a $538 million budget hole for the next year, almost three times what the previous mayor had expected, and a potential $1 billion deficit for 2025.

The latest gambit to boost revenue is a massive Bally’s Casino by the Chicago River, which the city expects to create billions of dollars in local investments and hundreds of millions in annual tax revenue. But the cost of the project and Bally’s debt have accelerated so rapidly that they have threatened the company itself. The irony is that an attempt to save Chicago from a debt spiral may cause another one. Meantime, the tax revenues from Bally’s rather forlorn-looking temporary casino north of the convention center came to less than a quarter of what the city expected last year.

Instead of buying down the debt with its recent fiscal gains, the city wants to inflate it. Since the pandemic, the mayor’s office has sought over $3 billion in general obligation bond sales for its Chicago Works program. Though nominally about repairing infrastructure, the bonds are another political log-rolling program. The mayor’s office noted that the investment would “place the highest priority on the utilization of minority, women-owned, and disadvantaged businesses and on the diversity of the workforce on City projects.” The Chicago Works bonds offering for 2024 promised hundreds of millions on “Aldermanic Menu” programs—meaning that the aldermen would get millions in slush funds to distribute as they saw fit.

Chicago has been bailed out by miracles before, but its current problems are structural and seem to have no clear solution. That doesn’t mean that the city will necessarily suffer Detroit’s fate and find itself in bankruptcy. The dangers of insolvency are real, but, just as with the exploding federal debt, too much focus has been put on the possibility of a single disaster and too little on the more obvious cost: deepening decline. Chicago could keep paying off its bondholders and retirees by bleeding public services, hiking taxes, and driving out still more residents, but it would become a shell of its former self. A debt-ridden Chicago wouldn’t be the first, or last, great American city to become a byword for lost possibilities.

Judge Glock is the director of research and a senior fellow at the Manhattan Institute and a contributing editor of City Journal .

Top Photo: Chicago is America’s Second City when it comes to debt, averaging about $43,000 per taxpayer, or almost $40 billion in total. (Felix Lipov / Alamy Stock Photo)

City Journal is a publication of the Manhattan Institute for Policy Research (MI), a leading free-market think tank. Are you interested in supporting the magazine? As a 501(c)(3) nonprofit, donations in support of MI and City Journal are fully tax-deductible as provided by law (EIN #13-2912529).

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2024 NASCAR Chicago Street Race guide: Start time, where to watch, how to get here, tickets and more

CHICAGO (WLS) -- The NASCAR Chicago Street Race weekend is back for a second year!

Two street races will take place in downtown once again this year: the NASCAR Cup Series and NASCAR Xfinity Series. There will also be various events, vendors and concerts in Grant Park during the race weekend.

ABC7 Chicago is now streaming 24/7. Click here to watch

When is the chicago nascar race.

The event will be held in and around Grant Park on July 6-7, 2024.

Entry gates and NASCAR Village at Butler Field open at 8:45 a.m. Saturday and 9 a.m. Sunday.

Start time for actual race events is 9 a.m. on Saturday for practice and qualifying. Start time Sunday is 2:55 p.m. for the NASCAR Cup Series driver introductions.

Click here to see the full weekend schedule for NASCAR Chicago and more on events and live music

2024 NASCAR Chicago Street Race tickets

Tickets are on sale via the NASCAR Chicago Street Race website , and are available for both full weekend passes and as single day tickets.

General Admission weekend passes are $269, tax included, before fees. That tier grants access to the festival grounds, trackside views, and the concert stage.

General Admission Plus weekend passes are $398, tax included, before fees. That tier grants access to all GA amenities plus access to the GA+ Grove seating area with extra seating and food and drink options for purchase, as well as premium restrooms behind the concert stage.

Single-Day Admission tickets are available for both Saturday and Sunday and cost $150, including taxes, before fees and provide general admission access.

Youth Admissions are new for 2024, for kids aged 12 and under. On Saturday, kids can attend for free. On Sunday or for a youth weekend past, the cost is $45, including taxes, before fees.

How and where to watch the Chicago NASCAR race

See the NASCAR Chicago street map

If you want to watch the races with your friends but can't make to the event itself, NASCAR has teamed up with bars and restaurants around Chicago and in the suburbs as official viewing locations. You can see a full list of those viewing locations on the Chicago Street Race website.

NASCAR airs on a variety of channels and streaming services. Check your local listings to find out where to watch on race day.

How to get to NASCAR Chicago Street Race

Extensive street closures and parking restrictions will be in place before, during and after race weekend. It is strongly recommended you take CTA or Metra to the race and festival grounds, and avoid driving.

See a full list of street closures and parking restrictions here

The closest CTA stops to the street race and festival are Washington/Wabash or Adams/Wabash on the Brown, Green, Orange, Pink, and Purple lines and Jackson on the Red and Blue lines. The event is located just a couple blocks east of these stations.

The closes Metra stops to the event are Millennium Station and Ogilvie Station. Find Metra schedules, tickets and other information at Metra.com .

Utilizing rideshare services is also encouraged, but all rideshare picks-ups must happen west of State Street, between Roosevelt Road and Randolph Street.

There is a drop-off only location available on Level 1 of the Millennium Lakeside Garage at 5 South Columbus Drive. This is a drop-off location only .

If you do choose to drive, Millennium Garages offers the closes parking for the event. Single and multi-day passes are available starting at $40. More information on locations and prices is available here .

ABC7 Chicago will be at the NASCAR Chicago Street Race Weekend and festival to bring you the latest news, traffic, weather and race coverage. Join us on channel 7, digital channel 7.1 and our 24/7 live stream on our website, news app and Connected TV apps for up-to-the-minute coverage.

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Chicago Red Stars set NWSL attendance record at Wrigley Field, open door to future special events

Bay fc and chicago red stars made history on saturday.

CHICAGO -- The Chicago Red Stars hosted Bay FC at MLB's historic Wrigley Field on Saturday night in front of a record-setting crowd of 35,038. The Northern California side left with the victory and all three points after a 2-1 win under the bright lights of the iconic friendly confines, but Chicago and the Bay each left that night as record-breakers. Each team achieved a bit of individual history as well alongside a successful NWSL event.

Bay FC midfielder Kiki Pickett opened the scoring with her first-ever NWSL goal, and Joelle Anderson netted the game-winner for the expansion side. Chicago Red Stars forward Penelope Hocking delivered the consolation goal for Chicago, a strike that was received with excitement from the hometown crowd and met with fireworks and roars. 

Penelope Hocking sends Wrigley Stadium into a frenzy with a stoppage time goal! pic.twitter.com/V9NDECU6fr — National Women’s Soccer League (@NWSL) June 9, 2024

A night of history

The league is no stranger to playing in baseball venues, but previous attempts were in semi-pro or minor league facilities. A forgettable night in 2016 between Seattle Reign FC and now folded club Western New York Flash left bad memories and a "never again" mentality after a subpar pitch, Frontier Field, and injury to then Reign goalkeeper Haley Kopmeyer left the league with black-eye of negative headlines.

Just look at the field!

This is honestly crazy. #NWSL pic.twitter.com/OWccwb6PC2 — Jeff Kassouf (@JeffKassouf) July 9, 2016

After the Wrigley game, both head coaches and players were complimentary of the baseball-to-soccer pitch conversions. Despite some narrow dimensions, groundskeepers listened to player feedback to ensure a quality field. Bay FC defender Kayla Sharples noted the player's collective bargaining agreement about no baseball fields, and the efforts taken with player reps for a special, one-night-only, event.

35,038 came out for women’s soccer tonight. A new record. #NWSL pic.twitter.com/seOOMmX7QS — Sandra 💙💯⚽️ (@Sandherrera_) June 9, 2024

Now, the league officially has a new attendance record after setting a single-game record just last season. Seattle Reign FC celebrated Megan Rapinoe's final home game and 34,130 fans showed up to say farewell at Lumen Field. The Reign have called the NFL stadium home for two seasons now. In Chicago, over 35,000 people showed up to support women's sports on Saturday night in Wrigley Field, in an evening that held plenty of individual history and significance as well.

Chicago Red Stars forward Mallory Swanson is married to Chicago Cubs shortstop Dansby Swanson, and they're now the first pro couple in Chicago to ever play on the same field with their respective teams. Her Red Stars teammate, Hocking, has the honor of scoring a goal in the same stadium her father Denny Hocking played in as a former pro with the Minnesota Twins.

The former Twins player hit a home run at Wrigley 25 years ago , while his daughter provided a celebratory moment for Red Stars fans on Saturday night.

"I mean, it's just electric. To score a goal for the home crowd, and do what I did tonight, and have my dad also play in the same field it's really, really special for him," Hocking said after the game.

"I could just see it in his eyes when I saw him after the game. Seeing my family after the game, saying how proud they were. Like playing on this big stage, it was just super emotional and it was just really cool. It just meant the world to me."

Since the Red Stars' initial announcement of the scheduled Wrigley game, the club and its players have been non-stop in promoting the marquee event. Sometimes a big moment can feel overwhelming at times but Hocking mentioned her dad helped her try to manage the emotions of playing in a historic venue.

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"My dad, he's so supportive, and when I told him ... that we're gonna play at Wrigley, he was like the first person I told. Even before the game [Saturday], he just sent me this long text and I could just tell that he was so happy and really proud," said Hocking.

"He's just like, go out, have fun. And you know, because he played the pro level, I bet he has some things that, like, he regrets and wishes that he could have taken back, and he just relays the message of 'Just have fun, enjoy it, like you're only going do it for so long.' So, I think that was the message, today, just have fun enjoy it. It's a great opportunity."

Sharples is a Naperville native and grew up going to Cubs and Red Stars games and went to Northwestern. She was drafted by the Red Stars in 2019 and is now with the expansion side building a new team culture. She's not unfamiliar with the Red Stars attendance plight and had several friends and family members in attendance, nearing almost a support system of 70 people.

"To get the win, in front of a hometown crowd. A historic night. I mean, it was hard not to witness and like look up and take in their crowd," Sharples said during postgame. 

"Because you want to focus on the game, but at moments, you know, we did. We looked up. And wow, like, got the chills. It's so cool. I saw the the board when it said 35,000, it's a record-breaking attendance for the NWSL, so that's just so unbelievable. To be a part of some history, and to get that win, is just something that I never thought would happen. So I'm just really happy and so blessed to do it with my teammates."

A metric for Chicago and NWSL

The Chicago Red Stars are one of the longest-running NWSL teams. First founded in 2007 as part of WPS, the NWSL's predecessor, the franchise has always struggled to get a foothold in sports-saturated Chicago. The club used to play their games at Benedictine University till 2016 when they moved out to SeatGeek Stadium in nearby Bridgeview.

The attendance has been historically low for the franchise, and last season, they were the only club to see a dip in attendance. After a decade of mismanagement and cutting corners from previous ownership under the ruse of "championing" women's sports, the franchise is under new ownership. A new group of investors led by Cubs Co-owner Laura Ricketts has, already in year one, achieved an attendance record with the club.

Ahead of the big game, club president Karen Leetzow sat down with CBS Sports  and discussed the Red Stars' ongoing efforts. Providing a large crowd for players, access, and visibility for the team within the city of Chicago, were just some goals for the Red Stars on Saturday. The marquee event isn't the first time NWSL teams have attempted to think out of the box for attendance metrics. 

In 2022, Orlando Pride and Racing Louisville FC played on a pitch at Daytona International Speedway with just over 5,000 people in attendance. The event efforts didn't set an attendance record but did spark plenty of what-ifs for NWSL games taken outside of soccer stadiums. Some clubs have even partnered with their local MLS clubs for double-header events.

The Wrigley match served as a metric for the Red Stars in Chicago, and the successful event has now opened the doors for future potential unique one-off events in the league.

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