PRESS

Kathryn has performed in numerous festivals and venues including The Copenhagen Jazz Festival, Cape May Jazz Festival, Pori Jazz Festival, Tokyo and Osaka Blue Note, London’s Ronnie Scotts, Birdland/ NYC, Catalina’s Jazz/ Los Angeles.  She has toured and recorded with many renowned artists including Nas, Ryuichi Sakamoto, John Hiatt, and David Byrne.

Soundtrack and Trailer Music

Composer Kathryn Bostic (DEAR WHITE PEOPLE, AUGUST WILSON – THE GROUND ON WHICH I STAND) has provided the original music for the Lifetime TV biopic about the first lady of Ruthless Records, recording artist Michel’le. SURVIVING COMPTON: DRE, SUGE & MICHEL’LE premiered last week on October 15, 2016.

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2015 Sundance Institute, Time Warner Grant

Sundance Institute and Time Warner Foundation announced today the ten artists selected for the 2015 Sundance Institute | Time Warner Foundation Fellowship Program, which recognizes and fosters the talent of diverse independent artists.

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MPR Women in Media

Kathryn tosses her hat into many rings. She regularly performs live, she’s a singer/songwriter, and scores films. She worked with August Wilson in the early ’00s on Gem of the Ocean, and scored the PBS documentary on August Wilson’s life, The Ground on Which I Stand.

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Minnesota Public Radio

Last year, the film Dear White People — shot at the University of Minnesota and other Twin Cities locations — was a success on the indie circuit that jumped into mainstream conversation. The film’s composer, Kathryn Bostic, created a complex score that didn’t simply support scenes, but introduced new layers of meaning.

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Film Music Magazine Interview

“Dear White People” is way too Ivy-league smart to throw its can with hip-hop, shuck n’ jive clichés that other black filmmakers lower themselves to, with composer Kathryn Bostic particularly standing up to embody Simien’s satirically cool, Ivy League-level scripting and directorial style.

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Indiewire - Composers

There’s a steady stream of exciting musical talent composing terrific work, mostly through the indie world, ensuring that new movies sound as fresh as they look. To pick up our ongoing On The Rise series of ascending stars, which started last week with cinematographers, we’ve picked out a dozen young composers who’ve tickled our eardrums in the last year or so.

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Indiewire

Kathryn is a composer, singer, songwriter and musician who has scored several independent features we’ve written about on this site, including Ava DuVernay’s “Middle of Nowhere” and “I Will Follow,” Yoruba Richen’s “Promised Land” and “The New Black,” “Dear White People,” “Soul Food Junkies,” and the forthcoming August Wilson documentary “The Ground on Which I Stand.”

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Sundance 2014

A good score can unite a film, subtly enhancing key moments with flourishes to emotional beats or linking transitions elsewhere. There’s a refined balance between making the music powerful enough to be felt and resonant, while providing something in service to one of the most collaborative creative processes—filmmaking. Musician Kathryn Bostic—a singer/songwriter and composer for stage and screen—mastered the craft and has demonstrated this.

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Sundance, Skywalker Composers Lab 2013

Sundance Institute and Skywalker Sound today announced that the Sundance Institute Music and Sound Design Labs at Skywalker Sound will take place at Skywalker Ranch in 2013 and 2014 and also announced the artists that will participate in the 2013 Labs. This is the first time the two organizations will collaborate to support independent filmmakers and film composers and marks a significant expansion of the Institute’s existing Composers Labs to include sound design.

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BMI, Sundance 2012

Whether she’s composing a film score or writing, performing and producing her own country and gospel-tinged solo record, what Kathryn Bostic is really doing is telling a story.

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MPR - Dear White People

“Kathryn Bostic created a complex score that didn’t simply support scenes, but introduced new layers of meaning.”

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Assignment X- Best Scores of 2014 & Composers to Watch

“Satirical, smooth,…bitingly elegant (score) to Dear White People.”

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A First Full of Soundtracks - Dear White People

“Kathryn Bostic’s solid original score…the movie with the strongest original score/song of 2014.”

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Film Music Magazine

“Bostic’s cool combo swings from Ellington-esque jazz romance to uptempo rhythm”

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Sundance Festival Blog - Middle Of Nowhere

“A seamless blend between pre-fab and original music…score was effective and imaginative.”

 

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The Huffington Post

“Kathryn Bostic’s musical score lifts every scene.”

 

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The Baltimore Sun - JAZZ

“Composer Kathryn Bostic has supplied an instrumental score that complements the action effectively.”

 

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LA Times - Bengal Tiger at the Baghdad Zoo

“The magical sense that anything can occur has been vitally left intact. David Lander’s pockets of lighting certainly enhance this quality, as do David Zinn’s simple yet transformative costumes, Kathryn Bostic’s suggestive music…”

 

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Backstage - Bengal Tiger at the Baghdad Zoo

“Moisés Kaufman directs with his own earthly intelligence and insight. He brings realism and surrealism to the stage, giving us vivid images, and creating moods of fear and recognition and humor and revulsion… with appropriately “haunting” music by Kathryn Bostic.“

 

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Curtain Up - Bengal Tiger at the Baghdad Zoo

“Director Moises Kaufman has created a vivid and quite filmic production, greatly enhanced by Derek McLane’s set (a wonderful 2-tier affair that eases scene-to-scene transitions). Adding to the overall excellence of the production is David Lander’s expressive lighting, David Zinn’s apt costumes (wisely avoiding anything costum-y for Robin Williams’ Tiger), Kathryn Bostic’s music”

 

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Seattle Times - Gem of the Ocean

“A potent sense of the inner life of each character reinforced by Kathryn Bostic’s original music.”

 

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Talkinbroadway - Gem of the Ocean

“The haunting and evocative musical compositions and arrangements are the work of Kathryn Bostic.”

 

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Pittsburgh Tribune Review - Gem of the Ocean

“Kathryn Bostic’s chilling original music and arrangements provide a spiritually supportive environment for the lushly ritual and ceremonial passage to the City of Bones.”

 

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Boston.com - Radio Golf

“The theater’s history and empathy with the playwright show in the richly textured design it provides for “Radio Golf.” David Gallo’s beautiful wreck of a set, with its crumbling bricks and blasted windows surrounding the one repainted room where the developers set up shop, is particularly notable, as is Kathryn Bostic’s lively, mood-deepening music.”

 

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New Pittsburgh Courier - Radio Golf

“Special kudos go to composer Kathryn Bostic who brought her Broadway Wilson sensibilities on providing the music and the comfortable and familiar soundtrack to underscore the product.”

 

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