Review: KAREN MACK BACK AT BIRDLAND a Welcome Return

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This girl continues to stake her claim as a multi-faceted performer in cabaret and concert.

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“I wish Karen Mack would do a solo show.” That was my plus-one at the THOSE GIRLS show at the Laurie Beechman Theatre. That plus-one was a prominent performer in the cabaret and concert community, a person with discerning tastes and a discriminating ear. So when they offered that Ms. Mack should do a solo show, this writer listened, wrote it down, and waited. That was November of 2019. Since that time, Mack has been performing with her artistic partner Elliot Roth (winning a MAC Award for their duo work), she has been writing songs and recording, she has continued to play out with THOSE GIRLS (landing, at one point, in London), and she has, indeed, begun doing solo shows. Sadly, this writer has missed those solo outings due to scheduling conflicts. So when the announcement came that Karen Mack BACK AT BIRDLAND was coming up on May 4th, I made sure to reschedule whatever I was doing that night and get me bumm in a seat, luv, and guess what? My plus one was that same cabaret stalwart who had told me, all those years ago, that Karen Mack should do a solo show. And, boy howdy, were they right. As a solo artist, Karen Mack has what it takes, and although we (all) will always want a THOSE GIRLS show and an Elliot Roth / Karen Mack set, knowing that there exists a possibility of seeing Mack standing in her own light gives a person something nice to think on until the occasion comes again.

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The first thing one should observe about Karen Mack holding up a show on her own is that she is thoroughly comfortable with the gig. The term “equal to the task” springs to mind. She speaks authentically, as can be noted by massive amounts of humor, she shoots from her heart, as evidenced by the profuse but not excessive manner in which she praises the artists who share the stage with her, from band members to guest artist to songwriters whose work she is presenting, and she comes prepared to share herself, as confirmed by an early-in-show confession that she loves to talk as much as she loves to sing. She also shows up ready to get it done. Mack maps out the evening efficiently by scheduling her setlist in an order that will give the program an ebb and a flow, a focus that is neither too rigid to enjoy nor too random to waiver - it is the mark of a true professional. Before you know it, sixty-five sublime minutes have passed and audience members can leave the club satisfied, heart warmed, gleeful, and ready for bed at a decent hour, very important on a Monday night, when the alarm will be ringing way too early the next day. Karen Mack may be comfortable and relaxed at showtime, but it is clear that she did her homework and made the preparations - shows do not go over this well if they haven’t been attended to beforehand. The Karen Mack show at Birdland went over like one o’clock, and that is because she is in her moment, and not content to waste it.

For her hour-plus long set at Birdland, Karen Mack brought a variety of genres and styles, but there was a particular focus on women singer-songwriters, and, well, there should have been because Mack is a stellar representation of women in the arts. In fact, her own “Hurry Up and Wait” was performed back-to-back with Val Hawk’s “Maybe We’re Getting Somewhere,” providing one of the evening’s highlights. Both performances leaning into a light, contemporary jazz vibe, they satisfied the requirements needing to be met in the hallowed jazz hall of Birdland, but the set didn’t only swing, for Mack is as versatile in her music as she is with her cookie baking ( does everyone know about Karen Mack and the cookies? If you don’t, click HERE and scroll to the last paragraph of the bio ). For instance, Mack and musical director Andy Ezrin (at the Piano) treated opening number “The Very Thought of You” to a little Latin feel designed to show off the smoothness of Mack’s pretty voice which, while being naturally smooth and palatable, is also, very clearly, technically trained. These two elements of Mack’s vocal quality re-surfaced again and again throughout the night. Observe the straightforward, unembellished “Someone to Watch Over Me” that serves as a comfortable old friend that you know and don’t have to work at, or the thrilling, exciting, blistering “Twenty Seconds” that puts musical monology front and center (the latter, by Birdland’s own Nicole Zuraitis, was a huge highlight). Then there are the surprises, like a superbly presented comic number titled “Ned’s Big Dutch Wife” and closing number “Thanks For You” that came with a monologue about 96-year-old singer Betty Bryant , who included the number on her newest album. Mack hasn’t just come to sing, she has come to illuminate… with her own words, with stores of her own and from others, with her focus on women writers, and with a set list featuring those old friends, and these new discoveries. This is how you put together a right proper club act.

The other way you put together a right proper club act is to put the best up on the stage with you. In that vein, Karen Mack employed a magnificent band made up of Pete McCann on Guitar, Matt Aronoff on Bass, Mark McLean on Drums, Dave Mann on Saxophone, and the aforementioned Andy Ezrin Musical Directing from the Piano. Each of the gentlemen is a master at their game and, thankfully, the arrangements gave all of the instruments solos to show off the skills of the proficients for a grateful audience. Mack is, indeed, fortunate in her association with these musical artists, as well as that of her special guest, Elliott Roth , who switched places with Ezrin for a stupendous performance of “That’s Why I Love My Baby.” It is easy to see why Mack and Roth choose to work together, and why their act is so successful. Long may this duo reign, for they’ve got the It factor (Roth’s playing is not to be believed, and Mack is with him every step of the way). From start to finish, the entire presentation of Karen Mack BACK AT BIRDLAND was a cool, laid back, playful and pleasant, absolutely enjoyable night of musical entertainment, the kind of live music show I want to see when I go out. The sold-out house at Birdland clearly felt the same way, given the appreciative response and the ovations. That’s a lot of people to have validate the opinion that Karen Mack should do solo shows. It would appear that whatever the club act order of the day, be it solo show, duo show, girl group show, or any other show, Karen Mack is going to rise to the occasion… with or without cookies. (With is better.)

Find great shows to see on the Birdland website HERE.

Visit the Karen Mack website HERE.

Photos by Stephen Mosher

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_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/cabaret/article/Review-KAREN-MACK-BACK-AT-BIRDLAND-a-Welcome-Return-20260513)._