If ticketholders weren't already upset by the cancellation of Amy Winehouse's upcoming show in Chicago, they will be now: both of the White Stripes' dates at the Aragon (Oct. 6-7) have been cancelled as well. A press release explained that drummer Meg White is suffering from "acute anxiety" and unable to travel, so the entire tour has been called off. Says the band, "We hate to let people down and are very sorry." Well, we forgive you Jack and Meg. Get well soon. Then come back!

Tickets or no tickets, you won't be seeing the buzzworthy British soul singer this time around. Winehouse's management confirmed today that all of her upcoming U.S. tour dates are cancelled--including her stop at Aragon Oct. 2 --"due to the rigours of touring." Refunds are available at the point of purchase.

Her European and UK dates in October and November are still on, though, and plans are in the works to reschedule the American tour for early 2008. For now, the singer has been ordered to rest. Is anyone willing to fly overseas to check out the show? What did you think of her Lollapalooza performance?

Not that we're surprised, but tickets for Wilco's Sept. 12 show at Millennium Park's Jay Pritzker Pavilion disappeared quickly, with more than 10,000 tix snatched up in less than 20 minutes. If you weren't one of the lucky few (thousand), well, you can always turn on the Chicago band's latest, "Sky Blue Sky," lay in a field and pretend you're at Millennium Park--at least then you won't have to fight every blade of grass.

Were you able to get tickets? Or is Jay Prizker Pavilion too small for such a popular hometown favorite? Can Wilco fill Northerly Island's Charter One Pavilion?

Renowned Chicagoans Wilco will be stopping home for a show this summer, and they couldn't have picked a better venue. Supporting their latest album "Sky Blue Sky," the alt-rockers appear Sept. 12 at the Jay Pritzker Pavilion in Millennium Park. While pavilion seats will cost you $45, lawn tickets are only $10. We repeat: You can pay $10 to see Wilco outdoors. But don't break out the credit card yet; tickets go on sale 1 a.m. Saturday.

Will we see you there? What's your favorite Wilco album? Are they Chicago's best band?

Now that day three of the exhausting and generally disappointing Pitchfork Music Fest is in the books, let’s not harp too much on the missteps (OK, just to name a few quickly: The sound was screwy again on the Connector Stage; soul singer Jamie Lidell couldn’t even bring himself to play piano, instead doing his entire performance without live instruments; Stephen Malkmus’ quiet solo show has no business being slotted at 6 p.m.; Chicago rockers The Ponys still don’t seem to have a consistent personality). Instead, a few highlights from the final day: Local vets The Sea and Cake legitimately rocked and proved to be one of the few bands that translated to the outdoor setting. Canada’s Junior Boys cranked up the fun after a mid-day lull that came from Menomena’s intriguing set that was significantly weakened by poor sound. One enterprising fan fashioned a sign on the front of a Fuze beverage box that read, “Let’s trade Pokemon.” And for the high point of the day, Of Montreal delivered the expected weirdness and then some, with frontman Kevin Barnes wearing progressively less throughout the show, and a borderline theater-level production on stage that featured angel wings, a Darth Vader outfit and much, much more. Other than that, still-solid New Pornographers aren’t quite the same without Neko Case, and snippets of Klaxons and De La Soul failed to keep our interest. We're not sweating it, though: Lolla is only three weeks away. Who do you think put on the best show at Pitchfork? Who was a disappointment? What was up with the sound? Will you go next year?

After nine hours of live music, brevity is of the essence. So here are some semi-rhetorical questions we’re left with after day two of the Pitchfork Music Fest: Why did the singer of conventional Scottish indie band The Twilight Sad perform sideways? How awesome was the fun, freaked-out fusion of Ken Vandermark’s Powerhouse Sound? How goofy was the singer of entertaining, slightly ‘80s-ish Texas group Voxtrot? How boring is Grizzly Bear? How groovy but repetitive is Battles? Why is England’s Fujiya and Miyagi neither interesting nor Japanese? What practical joker decided to follow-up super-mellow Iron and Wine with loud, mosh pit-inspiring Mastodon? Is there anything even remotely unique about the Oxford Collapse? Why couldn’t GZA’s Friday performance have been as exciting as Clipse’s set? Why was Girl Talk’s Gregg Gillis put on the Balance Stage and not given more space and volume to work with? Did Yoko Ono's seriously weird performance win over any fans, or did she just move people to declare, as at least one fan did, “I hate you!”

First, a confession: I’m not terribly well acquainted with “Spiderland,” “Liquid Swords” or “Daydream Nation,” the quote-unquote legendary albums that Slint, Genius/GZA and Sonic Youth, respectively, would perform in their entirety for Day 1 of the Pitchfork Music Fest. But that didn’t mean opening night had to be so underwhelming. For starters, I clearly wasn’t the only one uninterested in Slint’s straightforward set. The majority of concertgoers wandering around a sunny Union Park either seemed to be getting in position to see GZA or waiting in loooong lines for beer. (Well, first they had to wait in line to buy beer tickets, and then get in a different line to actually buy the beer. More efficient than people digging in their pockets during the actual brew purchasing? The jury’s still out.) Fortunately for those unable to get into Slint, Wu-Tang member GZA got on stage shortly after the first set wrapped up. And by shortly after, I mean three seconds, which would have been a great way of keeping the night’s momentum going, except so far, there wasn’t any. A dark and intense album like “Liquid Swords” also doesn’t really work in such a bright environment, not to mention one in which the sound was so low that it was as if the festival was less concerned about the fans than it was about not disturbing the neighbors. (The crowd’s chant of “Turn it up!” proved unsuccessful later on during Sonic Youth’s set.) Neither GZA nor the handful of other MCs could maintain much ferocity on top of the too-quiet beats, which sporadically inspired some head-nodding among fans but generally coasted along in an environment that just seemed to be the wrong place and the wrong time for atmospheric and lyrically dense hip-hop. If GZA was really a genius, he would have ensured the later time slot. That spot went to Sonic Youth, though, and despite the sound issues, their energetic romp through “Daydream Nation” was the only time Friday night that it actually seemed like a concert was going on. The audience bunched up close together and went as far back as we could see from the middle of the grass, and the 1988 album certainly sounded fresh and still way ahead of its time. When the band returned for an encore and the noise level suddenly improved, it felt like a good omen for the next two jam-packed days of music (Most anticipated shows: Girl Talk on Saturday, Of Montreal on Sunday). And if not, well, at least we still have more beer tickets.

You took your sweet time snagging tickets to this year's Pitchfork Music Festival, and, well, you're now officially out of luck. One-day, two-day, and three-day passes were available for the fest--held July 13-15 at Union Park and featuring Yoko Ono, Girl Talk, Sonic Youth and more--but event organizers announced today that the massive music weekend is totally sold out. The good news for those timely people who already bought tickets is that set times were released today as well, allowing you to plan for which bands to see and start complaining about who you can't see because it conflicts with somebody else you love. (Must we choose between New Pornographers and up-and-coming dance party starters Klaxons?) Are you upset you didn't grab tickets sooner? What conflicts bug you on the schedule? Is Pitchfork just a warm-up for Lollapalooza, or is the smaller fest better because it simply offers fewer bands that you aren't seeing?

Bad news, culture hounds: Beloved South Loop performance space HotHouse is closing--temporarily. At least, we hope it's temporary. The popular art and music venue, founded in 1987 and known for eclectic bands, intimate art exhibitions, theater workshops and much more, will leave East Balbo Drive at the end of July, with plans to move to an as- yet undetermined location. Signature events--such as the Jazz En Clave Festival--that are held by the non-profit organization will be moved to other Chicago venues in the meantime, and regular programming will be reduced in the short term to prepare for the move. Business director Marc Harris sounds confident that this is the best thing for Hothouse, but we just hope that it will find a new home sooner than the Jazz Showcase, the historic downtown jazz club that closed in January and has yet to find a new location. After all, when HotHouse departed its Wicker Park location in 1995, it didn't officially reopen until 1998. Will you head to HotHouse before it closes? Where else do you go to whet your cultural appetite? When a venue says they're moving, do you worry that they're kaput?

Not convinced that online music sales are impacting retail outlets? Well, try this on for size. As reported  by the Tribune this weekend, the Virgin Megastore on Michigan Avenue--which has offered massive discounts for the last several months to fight apparently dwindling sales--will close in July. (What's going into the space? Clothing store Forever 21.) Virgin's Chicago location is just one of seven outlets that the company has closed since last year, and, as you may recall, Tower Records shut its stores in December. Will you miss the Megastore? When was the last time you bought a CD in a store, rather than online? Do you think record stores will be totally gone within the next five years?