Enter Here To Find Things To Do In Chicago

Chicago, The Windy City, is filled with incredible and exciting things to.  There are fun things to do with kids this weekend and always concerts in Chicago tonight.  Whatever it is you might be seeking at any point in time, there is a very good chance it is happening somewhere in Chicago. 

Our very helpful Chicago Travel Guide can be of assistance as you determine what you want to do and perhaps hotels near me in Chicago and the best restaurants.  It’s always best to check out any great city with a travel guide and a game plan for your action!

Chicago has tons of attractions.  Some of those include Navy Pier, Lincoln Park Zoo, and Millennium Park.  There is also Grant Park and the Museum of Science and Industry.  Don’t forget Shedd Aquarium and the immensely incredible views from 360Chicago. 

Chicago is simply overflowing with arts and culture.  Take your kids to the Chicago Children’s Museum or the Chicago History Museum.  You can also check out the Art Institute Of Chicago and the Chicago Cultural Center. 

If you are seeking performing arts then Chicago is the place for you.  Chicago is home the Hamilton Chicago and of course the Joffrey Ballet.  There is also the Chicago Symphony Orchestra and the Chicago Opera. 

The city is also a huge sports town.  You can always find the upcoming events and schedules at  We have the Bears Schedule, Northwestern Football Schedule, and of course all the hockey action with the Blackhawks and Chicago Wolves

Check out some live action of a recent concert in Chicago:

Getting To Chicago

Chicago is a favorite tourist destination. It is one of the best cities in the US with world-class museums and restaurants and it is home to Jazz and comedy. It is known as the Windy City. Of course, getting there first is most important, so it is helpful to know a few things about the airports.

Midway can handle all of the major airlines and is one great option for flying to Chicago. If you charter your bus beforehand can save valuable time and produce your journey a lot more pleasant. The rental car buses depart with just a few folks. When travelling in a bigger group, the typical taxi or limo services are not able to cater for such parties within a car.

The airport provides a number of shops to pass the moment. Smaller airports are not going to provide that sort of exposure. O’Hare International Airport provides an assortment of choices for vehicle rentals. Midway International Airport is in the middle of a large dining overhaul. If you’re planning to fly into Chicago Midway International Airport (MDW), you’ve got ten car rental companies to pick from.

Based on the pick up location and destination of your journey, an alternate taxicab service may be the best option for you. Chicago Destinations While traveling to Chicago learns more about the region and the places you may visit when you remain in the region. Chicago Destinations Your visit to the Windy City is certain to be fun and full of excitement.

Chicago Growth And Development – Entertainment and Living Options

To stay on top of all the best things to do in Chicago or any city, you must be aware of all the new development and amazing places being constructed to lure in residents and give people a nice quality of life. There is a mammoth new development in Chicago called The 78. It’s a $7 Billion plus mega-project that will include entertainment options and venues. In fact, the entire city is under an immense new construction boom. It truly is remarkable how much new development is going on for a major, established city. Just check out the new digs around the Northwestern campus as well. Incredible.

Chicago 2020 Broadway Season Is Something Special

Broadway In Chicago really did it big time in 2020. Some true smash hits from Broadway are coming to town. Dear Evan Hansen is returning to the Windy City after a super successful run in 2019. Sensational musicals Mean Girls, Frozen, and Come From Away will also be in Chicago this coming season. It’s a power packed year for theatre lovers in Chicagoland.

Shedd Aquarium

The aquarium is always a big hit and an excellent place to take the kids. Also a perfect trip for a school field trip. Shedd in Chicago is no different. Shedd said please don’t hesitate to nurse anywhere you’re comfortable. Shedd has a rather prosperous penguin breeding program. Shedd is a well-known place and can readily get crowded during summer, weekends or holidays. Shedd also receives a huge part of its power consumption from solar power, and it’s always increasing. In reality, Shedd has also made tremendous progress in the field of waste management.

Shedd Aquarium is located at 1200 South Lake Shore Drive in Chicago, zip code 60605.

It is possible to re-enter the Aquarium if you maintain your ticket. You only have to go to Shedd Aquarium! In general, Shedd Aquarium is a good location for families to devote an enjoyable weekend at. If you prefer to be part of the Shedd Aquarium’s workforce, you can volunteer for sure positions. Shedd Aquarium is among the world’s biggest indoor aquariums, housing around 32,000 creatures. Shedd Aquarium is among the most fascinating areas to visit when in the Chicago region. You can’t tour the complete Shedd Aquarium in simply a day so instead join their membership to visit it frequently. Perhaps check out the Shedd Aquarium for catching a concert at the Aragon Ballroom.

You can leave and return inside if you maintain your ticket. When you purchase your tickets, make certain that you reserve your time for any shows you would love to see as you will require a ticket to enter. Buying tickets early is almost always a fantastic idea. They can be purchased exclusively at the front gate of Dollywood and cannot be pre-purchased. If you wish to find discounted tickets, take a look at the discount section above.

Hotels In Chicago

When visiting Chicago of course it is imperative to check out all the hotels in Chicago so you can make the best choice for what you want. There are hundreds and hundreds of great hotels to choose from. The Centrally Situated Palmer House Hotel – The Palmer House, a Hilton Hotel Has Been a great stay for our family . This Hilton hotel is centrally situated and just two blocks from the Art Institute and Millennium Park. We walked to almost anything we did. We got tired, Lyft and Uber automobile services delivered us as taking public transportation, about the same cost. Named after its proprietor his hotel burned from the Great Chicago Fire. 

Today, the hotel is a popular place to go for social gatherings in its spectacular lobby. This could be a great option for after a Thalia Hall Concert or after a long drive back from a Notre Dame Football game. This hotel takes you back with ceilings offering guests of business conferences and weddings both hospitality and old world charm. Our loved using the Executive Floor Lounge. For everyone remaining floors, the lounge provides evening hor doeuvres and breakfast. The lounge is an upgrade in the fun element and a family. To give you a notion of how Hilton Palmer Parker House is at Chicago, here’s the distance from the hotel and a list of Chicago restaurants and nearby attractions. We walked to all except the Museum of Industry and Science. 

Chicago Attractions – The Art Institute along with Millennium Park – Willis Tower – Field Museum of Natural History – John Hancock – Water Tower Place – John G Shedd Aquarium – Adler Planetarium – Lincoln Park Zoo – Museum of Science and Industry – Chicago restaurants – Als Beef – Giordanos – Lou Malnatis – Xoco – The Purple Pig – Portillos – Self Guided Walking Chicago Food Tour – I Really like to sample food in Various cities, but there’s never Appear to be sufficient meals. Thats where food tours come in. Rather than joining one, we created our very own Chicago food tour with the aid of knowledgeable friends. 

Who says you need to eat a whole meal at one restaurant? These innovative meals work when there are plenty of great restaurants within walking distance. Map them out on Google Maps along with make your very own Chicago food tour. Appetizer: Charcuterie in The Purple Pig – First Course: hotdogs At Portillos – Second Course: An Italian sandwich in Als Steak – Dessert: Churros with chocolate in Xoco – Chicago Deep Dish Pizza – Im not going to get into that the Chicago Deep Dish pizza wars. They’re all Chicago classics in their very own right.

Steve Earle examines a mining tragedy to engage listeners across the political spectrum on Ghosts of West VirginiaMonica Kendrickon May 29, 2020 at 5:17 pm

On April 5, 2010, a coal-dust explosion at Massey Energy’s Upper Big Branch Mine in Raleigh County, West Virginia, killed 29 miners. Though subsequent investigations found that a pervasive pattern of negligence and safety violations had led to the entirely preventable tragedy, in 2015 Massey Energy CEO Don Blankenship got off with a slap on the wrist: a single misdemeanor conviction for conspiring to violate mine safety and health standards and a one-year prison sentence. In 2018 he unsuccessfully ran for Senate as a Republican and–lest anyone think he’s the least bit repentant for his role in such a massive loss of life–he’s currently running for president with the far-right-wing Constitution Party. The Upper Big Branch Mine disaster briefly cast a bright national light on Appalachia, including the big-business exploitation of local workers and natural resources, the bitter class divides among its communities, and the love-hate relationship its residents have with a fading industry that’s shaped so much of the region’s economy and cultural life. All of these conversations coalesce on Steve Earle’s 20th studio album, Ghosts of West Virginia. He wrote seven of the ten songs on Ghosts for Coal Country, a play by “documentary theater” playwrights Erik Jensen and Jessica Blank that premiered at New York’s Public Theater in early March. Earle adapted gospel, country, bluegrass, and blues to a narrative-song style, and while he played the material solo onstage during the play’s run, on the album he’s backed by his band, the Dukes. While some of his compositions, including “Heaven Ain’t Goin’ Nowhere” and “If I Could See Your Face Again,” sound ancient, he makes the traditional “John Henry” his own (John Henry is also the name of one of Earle’s sons, so I bet he’s wanted to put his spin on that tune for a long time). Earle, who is well-known for his leftist leanings, has said that he wants to engage with people who aren’t on his side of the political spectrum, and in West Virginia, left-right divisions also play out in a decades-long struggle between those devoted to coal as a traditional way of life and those who have turned toward environmental activism and a postcoal economy. “Union, God and Country” is Earle’s stab at opening the conversation by finding shared ground in West Virginia’s history of fierce labor battles, which is a source of pride for many locals. “Devil Put the Coal in the Ground” is a country-blues stomper that puts a dead-on folkloric spin on the contradiction of loving coal and hating it. The album’s heart is probably the brooding, furious “It’s About Blood,” which ends with a spoken-word vigil: a recitation of the names of all 29 men who perished in the mine explosion. But Earle prevents the record from wallowing in despair–and helps protect it from accusations that it’s the sort of poverty porn rightly criticized in the region–by lightening the mood with “Fastest Man Alive,” which celebrates one of West Virginia’s favorite sons, ace pilot Chuck Yeager. v

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Indigo Girls see the past clearly on Look LongSalem Collo-Julinon May 29, 2020 at 5:20 pm

Singer-songwriters Amy Ray and Emily Saliers have been playing folk-rock guitar and singing harmonies together since the early 80s, when they were high school students in Decatur, Georgia. In 1985, they began performing as the Indigo Girls, and their earnest lyrics and dual guitars earned them a loyal and dedicated fan base that grew exponentially after the 1988 release of their self-titled second album (which was also their major-label debut). An Indigo Girls concert can feel like a fun night at summer camp: nearly everyone sings along. Their new 15th studio album, Look Long, doesn’t stray far from the template that the duo has established, but why mess with a formula that’s worked for so long? Most of the songs on Look Long highlight the perspectives of middle-aged people reviewing their pasts with wistful affection: “When We Were Writers,” for instance, is a heavy-handed, nostalgic ode to being young, creative, and “pulling all-nighters.” I’m especially taken with the bittersweet ballad “Country Radio,” where Saliers draws on her experience growing up gay in 1970s Georgia. The protagonist (whose gender is carefully unspecified) says that every night after a shift at the mall food court, they listen to country songs about idyllic boy-girl romances and get swept away in the stories–even though the songs are selling a heterosexual fantasy that isn’t for them. “I want to know what it’s like to fall in love / Like most of the rest of the world,” Saliers sings. “I’m just a gay kid in a small town / Who loves country radio.” Look Long is filled with the sort of didactic lyrics that folk rockers with their hearts on their sleeves can’t resist (and for which they’re often derided). But I’m grateful that the Indigo Girls are still laying it all out there–there’s always a small-town kid who needs to hear it. v

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Singer-songwriter Gia Margaret shifts focus to instrumental ambient for Mia GargaretIzzy Yellenon May 29, 2020 at 5:24 pm

Chicago singer-songwriter Gia Margaret makes what she calls “sleep rock.” Its mellow vibes make it well-suited for early-morning or late-night listening, while its catchy melodies and driving beats can get heads nodding–albeit gently. Margaret’s 2018 debut full-length, There’s Always Glimmer, creates inviting atmospheres with crisp production and varied instrumentation: Margaret’s double-tracked vocals glow amid a calming mix of electronic drums, piano, and guitar. She builds upon that foundation on her new second album, Mia Gargaret (Orindal), though unlike its predecessor, it’s largely an instrumental record–she sings only on the closing track, “Lesson,” and occasionally samples voices, including a lecture by British philosopher Alan Watts. Margaret made it while recovering from an illness that robbed her of her singing voice for about half of 2019; rather than put music aside, she adapted in order to move forward. Opening track “Apathy,” released as an early single, channels Mort Garson’s Plantasia, with a hypnotic looped arpeggio of synth and piano that evokes stillness as well as growth. Near the end, Margaret introduces a sample from one of her vocal-therapy sessions, where she’s dealing with the loss of her primary instrument but staying determined and optimistic. Elsewhere she translates her compositional voice to other instruments: on “Lakes,” a field recording of waves ushers in acoustic and effected guitars. No matter the tools she uses, these songs convey patience and a thoughtful way of developing ideas. Margaret’s choice to conclude the album with “Lesson” suggests that she’ll eventually return to the singer-songwriter style of There’s Always Glimmer, but I hope she also continues to explore the approaches here. Necessity is the mother of invention, and Mia Gargaret makes it clear that it’s necessary for her to make music any way she can. v

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Chicago rap duo Mother Nature evoke deferred summertime joy with PortalzLeor Galilon May 29, 2020 at 6:03 pm

Over the past few years, Chicago hip-hop duo Mother Nature have become so thoroughly embedded in several overlapping scenes that it could feel like they were always playing a show. And when the weather heated up, they sometimes got gigs bigger than any one scene: Subterranean booked them for Wicker Park Fest twice in a row, they won a spot on North Coast Music Festival’s 2018 lineup, and last year they played an unofficial Pitchfork afterparty organized by multimedia outlet AMFM. This season, of course, nearly every musical gathering that helps flavor Chicago’s summers has been postponed or canceled, but Mother Nature have nonetheless found a way to remind us that they’re part of what makes bearing the city’s tundra-like conditions for the other nine months so rewarding. On the new Portalz EP (their debut for Closed Sessions), rappers Shasta Matthews (aka Klevah Knox) and Tierney Reed (aka T.R.U.T.H.) navigate languid melodies in tracks built from sweltering synths, swaggering percussion, and nimble but understated bass lines. The record has an easygoing vibe, and Matthews and Reed frequently lean into it, unfurling half-sung vocals that stretch on like a summer day. They sound perfectly laid-back, but they rap with such precision that you can easily imagine them pivoting instantly into aggressive, fired-up verses. And even when they stick to a relaxed lilt, their voices can transform the feel of a lackadaisical instrumental: they enliven the indolent melody of “Antidote” with a few blustery bars that burst like fireworks. v

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On Introduction, Presence Nation of Language make earnest synth-pop for the modern conditionShannon Nico Shreibakon May 29, 2020 at 6:09 pm

When the present is a slog at best and the future seems aimed off the edge of a cliff, a pair of rose-colored glasses turned toward the past can be irresistible–at any rate, that’s how Brooklyn trio Nation of Language approached their debut album, Introduction, Presence. Powered by chockablock synths, hypnotic bass grooves, and the shadowy croon of bandleader Ian Devaney (imagine Frank Sinatra at golden-era Neo), the record exhumes all the 80s new-wave hallmarks worth reviving. The group cobbled the album together over two years, popping in and out of the studio with no clear agenda besides quelling their nostalgia; they tinkered with unfamiliar instruments until melodies emerged in revelatory flares. While Nation of Language’s glossy synth patches and splintered drumbeats bow to postpunk progenitors, their lyrical subject matter is timeless: city streets peppered with emotional landmines (“On Division St.”), the lifelong tug-of-war between self-improvement and self-sabotage (“Indignities”), and love so sweet it can melt your teeth away (“Rush & Fever”). In a March interview with Boston-based online magazine Vanyaland, Devaney said, “I hoped in making this album to create the space to openly ache for something.” The space where Nation of Language have staked their claim is like a world unto itself, one that sparkles like silver and where a night’s mistakes can be washed away with a torrent of rain–and that’s exactly the type of utopia any dance-floor disciple would ache for. v

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Goons be Gone is the most fleshed-out and lush No Age release yetLuca Cimarustion May 29, 2020 at 7:46 pm

No Age have always been great at making very little sound like a whole lot. Since they began blending influences from hardcore punk and noise rock with indie-rock catchiness 15 years ago, the Los Angeles-based duo have been on the cutting edge of cool–they’ve always seemed a step ahead of their peers in the guitar-rock world. On the brand-new Goons Be Gone, No Age’s second full-length for Drag City, guitarist and singer Randy Randall and drummer and singer Dean Spunt have created their most lush and thoughtful music yet, proving that their well of greatness isn’t going to dry up anytime soon. This time around the band dive into psychedelic rock, layering dreamy guitars to create spacey textures and soundscapes; meanwhile their vocal melodies lean into mod textures, with equal parts attitude and smooth hooks. No Age have always fleshed out the two-member dynamic so well, and they’ve upped their game even further on Goons Be Gone–sometimes they break away from their minimalism, and they sound like a six-piece band cutting loose. When they pair their new sense of pop grandeur with the inventive guitar leads, pushy drums, and unstoppable energy of their signature sound, No Age are bigger and better than ever. v

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Seth Engel makes melancholy sound sweet with his power-pop project, OptionsLeor Galilon May 29, 2020 at 7:49 pm

Chicago punk multi-instrumentalist Seth Engel can deliver a sweet, melancholy riff so gracefully that you’d think he lives inside the guitar chords from Jawbreaker’s Dear You. Engel, who records solo material under the name Options, is a busy young man about town. He drums with mathy progressive trio Pyramid Scheme as well as heavy indie-rockers Great Deceivers, and he’s a member of several groups that are on pause, including Lifted Bells and Anthony Fremont’s Garden Solutions. He also gets called up to play auxiliary roles on album sessions by local emo and punk acts; his recent credits include Retirement Party and Nature’s Neighbor. On the other side of the board, he’s a studio wiz who engineers, mixes, and masters music for a laundry list of Chicago DIY artists at his Bridgeport headquarters, Pallet Sound. Since debuting Options with 2014’s What You Want, Engel has been cranking out emo-laden rock songs whose clean power-pop hooks bind together joy and woe, and he pulls it off with surgical precision. Options’ sixth album, Wind’s Gonna Blow, continues this strange, intoxicating balance of blissful euphoria and vague gloom. On “Blue,” Engel transforms mundane sadness into an existential wound, oozing with fuzzy riffs and sullen singing, and cauterizes it with sharp guitar stabs and drum bursts–the music makes it feel possible to heal even when everyday grief won’t stop. v

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Chicago rap star Polo G stands firm on his peak with The GoatLeor Galilon May 29, 2020 at 7:51 pm

Chicago rapper Taurus Bartlett, better known as Polo G, rose to national prominence so quickly that new listeners could be forgiven for assuming he’s been a star for at least a few years. He broke out in January 2019 with “Pop Out,” a collaboration with New York MC Lil Tjay, where Bartlett mixes irrepressible joy and gut-wrenching sorrow in prismatic pop. Bartlett maintained that single’s narrative gravitas and melodic sweetness for the entirety of his debut album, June 2019’s Die a Legend. In early May, he announced his follow-up, The Goat (Columbia), on which he displays more flexibility as a rapper. On “Go Stupid,” producer Mike Will Made-It concocts an antagonistic vibe with metallic drums and austere keys, a mood that jibes better with the guests on the track, Stunna 4 Vegas and NLE Choppa, than it does with Barlett himself. He sprays compact, burly lines tinged with a bit of his old melodic bliss, performing with the vigor of an artist already hungry for the next challenge. v

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Malian singer and activist Oumou Sangare strips songs from her electrifying 2017 album into their warmest, barest forms on AcousticJamie Ludwigon May 29, 2020 at 8:19 pm

In 2017, celebrated Malian Wassalou singer and activist Oumou Sangare released Mogoya, her first new album since 2009. During the intervening eight years, she’d largely stepped away from the spotlight to pursue a variety of business ventures, including establishing agricultural projects, opening a hotel, and launching a new car, the Oum Sang. For Sangare each of them has offered the chance to support and empower the Malian people–proceeds from the Oum Sang, for example, benefit a scholarship fund. Wassoulou music, which arose in a part of West Africa that includes southwestern Mali, is widely considered a precursor to American blues; it’s traditionally sung by women, and since the late 80s Sangare has approached its soulful sounds with a modern feminist spirit, tackling subjects such as female autonomy and the pitfalls of arranged and polygamous marriages. (Sangare began working at age ten to help support her family after her father abandoned her mother, who was his second wife.) On Mogoya (which translates to “Human Relations”), she updated her sound by collaborating with producers in Sweden and France and incorporating elements of rock and funk; the album’s sleek, eclectic tracks sparkle with robust energy, even when tackling complicated topics such as mental health, as she does on “Yera Faga” (“Suicide”), which features legendary Afrobeat drummer Tony Allen. In 2018, Mogoya got a club-ready makeover when its songs were remixed by Sampha and Aunti Flo. Acoustic takes the opposite approach: recorded live in two days with no second takes or overdubs, the album strips down songs from Mogoya to nothing but vocals, guitar, and a traditional Malian stringed instrument called the kamele ngoni, similar in appearance to the harplike kora and usually tuned pentatonically. These don’t feel like laid-back tunes to sing around a campfire, though–the bare-bones approach enhances the emotion of each song and the stunning skill of each contributor. The intensity of the call-and-response vocals, hand claps, and soaring vocals on “Bena Bena” (“Ingratitude”) gets ratcheted up even further on the following track, “Kounkoun” (“Bad Seeds”), with its grooving, dueling strings. While many Americans are enduring intense isolation, Acoustic’s warm, rich textures and Sangare’s incomparable voice offer a sense of connection–and the feel of live music–from half a world away. v

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Lucinda Williams is a forceful spirit on Good Souls Better AngelsSalem Collo-Julinon May 29, 2020 at 8:33 pm

Lucinda Williams writes raw, visceral songs filled with beaten-down people liberating themselves from bullies. “I changed the name of this town / So you can’t follow me down,” she sings on “Changed the Locks,” from her 1988 self-titled album. Her new record, Good Souls Better Angels, takes on similar demons, though its antagonists don’t just pick on individuals but seek out victims on a global scale. Williams snarls truth to power on “Man Without a Soul,” a protest song that recalls Phil Ochs: “All the money in the world will never fill that hole,” she sings to an unidentified man (she recently told NPR that she thinks of her target as Donald Trump, but he could just as easily be Mitch McConnell or anyone else who uses their power to abuse others). On Good Souls Better Angels, Williams sounds like a cowpunk roadhouse version of a singer-songwriter–more than four decades into her career, she’s more powerful than ever. Williams pushes her country-rock alto into the microphone on “Big Black Train” as she repeats “I don’t want to get on board,” as if to shut up anyone who wasn’t convinced. And her longtime backing band, Buick 6, enhances her brilliant songwriting and forceful performances: on “Wakin’ Up,” which tells a startling story of escaping an abusive relationship with an addict, Stuart Mathis’s jagged guitar riffs match the emotion in Williams’s voice. v

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