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Sunday 10.18

Bonnie Raitt
  • Bonnie Raitt

Bonnie Raitt, Randall Bramblett

Koka Booth Amphitheatre—There are precious few white female blues artists, but Raitt became attracted to the style during her first year at Harvard. She ended up dropping out of school to chase the musician's dream, making music for nearly two decades to mixed critical notice and paltry commercial success before striking platinum with the adult contemporary hit album Nick of Time. While doubtlessly talented—a fine player with a warm, inviting voice—her induction to the Rock Hall in 2000 was a reach, due more to her gender, high-profile activism and one enormous hit ("Something to Talk About") then her middling recorded output. Meanwhile, Randall Bramblett has played blues fusion with Sea Level and Steve Winwood's reformed Traffic, along with extensive solo and session work. He's released five albums of jazzy, wide-screen blues rock. The 6 p.m. show costs $39.50-$69.50. For more, see —Chris Parker

Carolina Ballet's Picasso

Fletcher Opera Theater, Progress Energy Center—The Nasher Museum's ongoing exhibit Picasso focuses on the relationship between art and writing, and now the Carolina Ballet brings dance into the mix. Created by the company's artistic director, Robert Weiss, the ballet is composed of four parts, three of which ("Song of the Dead," "Salome" and "Harlequin") were inspired by the exhibit. (The fourth dance is "Guernica," based on Picasso's 1937 masterpiece, which is not included in the show.) J. Mark Searce, director of N.C. State University's music department, was commissioned by the Carolina Ballet to compose music for the "Guernica" and "Song of the Dead" sections. The production begins Oct. 15 and runs through Nov. 1, with evening performances beginning at 8. Matinee performances begin at 2 p.m. on Saturdays and Sundays. For more information, visit —Sarah Ewald

Cherry Bounce Music Festival

Downtown—The Raleigh Convention Center's celebratory christening—presented as Raleigh Wide Open III last year—was hampered by Hurricane Hannah, which pelted the city streets with rain during the first night of the weekend party. But Cherry Bounce persevered: A two-day downtown Raleigh music festival organized by a pair of local advertising consultants, Cherry Bounce put a mix of hard rock, eccentric indie rock and hip-hop on a covered Hargett Street stage and let the bands play on. This year, memories of music in rainstorms in mind, the festival moved toward a format akin to New York's CMJ, where three dozen acts are stretched among seven venues over seven days, culminating in another national band blowout on Hargett. The music starts tonight with Atlanta songwriter Angie Aparo at Deep South the Bar, but we strongly recommend opting into the next three nights, instead: Lonnie Walker's verbose frontman Brian Corum plays solo with The Proclivites' Matt Douglas and Red Collar's Jason Kutchma at Raleigh Times Bar on Monday at 9:30 p.m. On Wednesday, the guitar-and-keyboard muscle of Mount Weather (like Spacemen 3 refocused by Spoon) joins ebullient, emerging hip-hop crew Kooley High at Busy Bee Cafe at 9 p.m. But if you're going to see just one show during the workweek series, make it Tuesday night's showcase: The wiry and rhythmically ridiculous Americans in France join Gray Young, an atmospheric instrumental band that finds its climaxes with pop expediency. And Veelee—the latest great addition to the Triangle's healthy "dating band" scene—turns pop songs for two people into studies on just how dynamic and intricate duo music can be. The Slim's gig starts Monday at 9 p.m. All shows, except Monday's free acoustic gig, cost $5 at the door. For the rest of the roster, see —Grayson Currin

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