Karen Mason

Birthday Bash

Birdland, NYC, September 28, 2026

Reviewed by Alix Cohen

Resplendent in signature white, Karen Mason claimed Birdland’s stage tonight with energy, mastery, and heart in defiance of chronological age. “I’m more assertive, more compassionate, and less filtered,” she declared.

This 10th album release celebrated Mason’s March birthday and was as much a look forward as back. References to her past discreetly eschewed résumé format.

“Seasons of Love” (Jonathan Larson with additional droll lyrics by Barry Kleinbort), rhymed “prepping” with “schlepping,” setting a tone of against-the-odds positivity. On its heels, a terrific Brian Lasser arrangement of “Something’s Coming” (Leonard Bernstein/Stephen Sondheim) arrived more grounded than theatrical, enhancing the lyrics.

Superb vocal control manifested in taste as much as technique. Notes soared without strain. The veteran had nothing to prove.

Mason discovered the lovely “If I Close My Eyes” when she was making a studio demo for the musical Ballroom (Billy Goldenberg/Alan & Marilyn Bergman). “If I close my eyes, I can fly/I can drink the rain and taste the sky.” Untethered notes wafted among us like milkweed pods. The phrase “hope floats” came to mind.

“Hurry! It’s Lovely Up Here” (Burton Lane/Alan Jay Lerner) and “South of the Coconut Line” (Paul Rolnick/Paul Guzzone) lightened the festivities.  With a side step, side step, modest shimmy—Mason almost danced. The first song erupted as incitement, the second, a nod to Jimmy Buffet; unabashed fun. Mason’s throaty laugh and Tom Hubbard’s bass line made these infectious.

The artist told us she felt she had nothing new to offer “It Had to Be You” (Isham Jones/Gus Kahn) until she married at age 50. Tonight’s rendition was lustrous, sincere. Both hands clasped a microphone and eyes closed, they languidly opened savoring the message.

A pairing of “Dance Only with Me” (Jule Styne/Betty Comden & Adolph Green) and “Dance” (Amanda McBroom) was profoundly moving filtered through Mason’s experience.

“But the World Goes Round” (John Kander/Fred Ebb) showcased the vantage point of a tough and tender, ballsy soul, a “broad.” One apt definition I found is a woman who commands respect through pure talent, grit, and unapologetic authenticity.

We’re left with the optimistically resolute “Better Days” (Brian Lasser, whose years of guidance and support elicited appreciation). “Though it seems that all is lost/And hope has gone astray/Keep your dreams at any cost/Love will find its way.” Mason exuded anticipation and reminded us to vote.

The show’s deft shaping was credited to director Barry Kleinbort, who contributed some wry lyrics and to MD/pianist Christopher Denny, whose bespoke arrangements supported and enhanced throughout.