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Musician and educator Kate Outterbridge works to meaningfully challenge the status quo in the service of engaging and uniting people through the performing arts. A dynamic violinist, fierce advocate of contemporary music and promoter of responsible and thorough music education in the city of Los Angeles and beyond, Kate performs at the forefront of today's music scene.

Since moving to Los Angeles, Kate has appeared in countless studio recordings including major motion pictures like Avatar: The Way of the Water, Kajillionaire, Family Switch, and popular series such as Star Trek: Lower Decks, Solar Opposites, Gremlins: The Secrets of the Mogwai, and The Flash.

Kate performs regularly with LA-based modern music collective Wild Up, most memorably in the 12 hour performance art piece 'Bliss,' by Ragnar Kjartansson. She also played with the band on the widely-acclaimed Grammy-nominated album “Julius Eastman Vol.2: Joy Boy. Kate has performed and premiered the works of countless living composers across the country, and has collaborated with prominent composers such as Anthony Cheung, Nina Shekhar, and Elizabeth A. Baker. In 2022, Kate’s violin duo, The Furies, was commissioned by CAP UCLA to create a 20 minute visual work for the Tune In Festival, which resulted in a stirring and original project in a partnership with Jennifer Bewerse.


Other performance highlights include performances at the Orpheum Theater with acclaimed indie-rock band The National, the Greek Theater with Icelandic post-rock band Sigur Rós, and with MacArthur Fellowship-winning performance artist Taylor Mac in the widely acclaimed 'A 24-Decade History of Popular Music, which has recently been released on HBO as a feature-length documentary film. In 2022, Kate made her first Hollywood Bowl performance in a live-action rendition of hit Disney film 'Encanto,' which is now streaming on Disney+. Additionally, Kate has been lucky to perform with the Wordless Music Orchestra, Long Beach Opera, and New West Symphony. In 2021, Kate joined For The Record Live in a 5-week run of the musical version of Love Actually Live, at The Wallis in Beverly Hills. 

Other notable venues Kate has performed at include Walt Disney Concert Hall, National Sawdust, REDCAT, and the Isabella Stewart Gardner Museum, and she has appeared in Festivals including SILENCE at Descanso, Hear Now Festival, Great Lakes Chamber Music Festival, Bang on A Can Summer Festival Marathon, (R)evolution: Resonant Bodies, and Detroit’s Strange Beautiful Music. 

A dedicated and experienced teacher, Kate serves on Violin Faculty and as Social Media Manager for Global Arts Los Angeles. Kate uses a blend of Suzuki pedagogy, Creative Ability Development, and mindfulness exercises when teaching children in group and individual settings. Past teaching projects include virtual summer programming with Project 440, traveling to Seoul in conjunction with YOLA to work with El Sistema orchestra students, and serving as Strings Coordinator at YOSAL.


From 2015-2017 Kate participated in a two-year Fellowship Program at Community MusicWorks in Providence, Rhode Island where she taught a full studio of violin students, performed with the ensemble-in-residence in spaces from galleries to taco shops with the MusicWorks Collective, and participated in group seminars and workshops. Her experience leading a series of workshops with a quartet in a mental health facility is chronicled in an article for the Log Journal

Kate received her Masters of Music and Masters of Chamber Music at the University of Michigan where she studied with Aaron Berofsky in 2015, and her Bachelors of Music from Boston University in 2013, where she studied with Bayla Keyes. She has participated in residencies at Avaloch Farm Music Institute, Blackbird Creative Lab, Bang on a Can Summer Festival, and as well as Aspen Music Festival and the National Orchestra Institute.

While not playing her violin, Kate enjoys hiking her way through Southern California, jamming out at an Irish music session, and finding the funny in everything through stand-up comedy. 

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