Interview by Paul Salfen
Kathryn Bostic, the acclaimed composer behind the score for The Supremes at Earl’s All-You-Can-Eat, sat down with AMFM Magazine to share her story. The film, a heartfelt ode to lifelong friendship, follows three women whose unbreakable bond is tested by new heartbreaks and life’s relentless storms. For Bostic, crafting the music for this tale was more than a job—it was a conversation, a sonic dance woven from her own life and the souls of the characters.
The director’s call to score The Supremes came with a clear vision: a piano theme to anchor the film’s emotional core. For Bostic, a pianist since age three, this was destiny calling. “The director asked for three piano themes, and she chose the first one—my favorite,” Bostic recalled. That theme, centered on Clarice, one of the trio of friends, became the heartbeat of the score. With only the script initially in hand, Bostic saw music as a “visual conversation,” translating the story’s emotions into sound. The result was a score that didn’t just accompany the film but amplified its soul, wrapping the characters’ joys and struggles in a musical embrace.
Bostic’s connection to the piano runs deep, rooted in her childhood in a home filled with music. Her mother, an accomplished pianist and composer, was in the middle of a lesson when she went into labor with Kathryn. “I come by it pretty naturally,” Bostic said, describing the baby grand Steinway in their living room as a “cool toy” she couldn’t resist. Growing up surrounded by her mother’s performances of Ellington, Basie, Ravel, and Debussy, alongside her brother’s jazz records—McCoy Tyner, Bill Evans, Herbie Hancock—Bostic absorbed music like a sponge. “It was like going to the best sonic restaurants,” she said, her voice alight with nostalgia.
This rich musical upbringing shaped her approach to composing, where every note tells a story. For The Supremes, the score mirrored the enduring friendship of the three women, a bond that weathers decades of highs and lows. “Their friendship spoke to me,” Bostic said. “It’s rare to stay connected from high school through adulthood, through all the changes. Their value for each other superseded the challenges.” Her music captured this resilience, blending tenderness with strength, much like the characters themselves.
When asked about her “Hail Mary” moment, Bostic paused, reflecting not on a single event but on an internal shift. “It’s when I realized I could embrace my autonomy,” she said. “Life is an incredible gift, and I deserve to give myself the sky’s the limit.” This mindset has fueled her diverse career, from scoring The Supremes to upcoming projects like an American Masters documentary on Marlee Matlin and Sarah’s Oil, a film about Sarah Rector, the first African American female millionaire. She’s also crafting her own singer-songwriter record and collaborating with opera singer Karen Slack for a Dallas Symphony commission.
Bostic’s advice to aspiring composers is simple yet profound: “Just do it.” She believes in demystifying the creative process, emphasizing passion over perfection. “You have to have that desire,” she said. “Music is storytelling, and if you love it, jump in.” Her approach to life and work is grounded in a refusal to let self-doubt or external opinions dim her light. “I’m enough,” she affirmed, a mantra that guides her through moments of resistance or failure. “No one’s going to give you permission to be you.”
As the interview wrapped, Bostic’s excitement for her Dallas visit was palpable. “I’m coming for some barbecue!” she laughed, promising to connect with the hosts in person. Her warmth and gratitude shone through as she thanked them for creating a platform for artists. “We’re not alone,” she said, her words a reminder of the community she builds through her music and presence.
For Kathryn Bostic, The Supremes at Earl’s All-You-Can-Eat is more than a score—it’s a testament to friendship, resilience, and the power of music to tell stories that linger. As fans await her next projects, one thing is clear: her sonic journey is far from over, and the world is richer for it.
