Album Review: A Standout Release from Mason Via
Nobody should be the least bit surprised that Mason Via is one of the hottest new talents in Americana and bluegrass. Growing up surrounded by music in Danbury, NC, his father is the well-known writer and performer David Via. He began playing at fiddle conventions and jam sessions as a child. One of his bands, Hot Trail Mix, was already generating a lot of discussion when the pandemic hit. Despite that challenge he auditioned for American Idol and made it to the final 24 contestants. Not long after that he was asked to join the renowned Old Crow Medicine Show as a guitarist and singer at the age of 23. His time with the band was productive, either writing or co-writing 7 of the 12 tracks on the Grammy-nominated album Jubilee.
After three years of touring, he felt it was time to pursue his own solo career and began work on his most recent eponymous album. The ten cuts, some of which were originally written for Old Crow, provide a fascinating blend of folk, country and Americana with a bluegrass influence, and a few of the early releases are in regular rotation on Sirius’ Bluegrass Junction.
“Wide Open” is a wistful number about love lost and subsequent heartbreak, memories resistant even to a friend’s moonshine. Like the rest of the album, the instrumentation is perfectly matched, with great fiddle, dobro and acoustic guitar. Co-written with up-and-coming country artist Zach John King, it’s a great opening track.
“Melt in the Sun” goes in a whole other direction. Written by Via and Charlie Chamberlain, it was originally recorded as an alt-rock song for a possible future album, but Via decided to reimagine it with more bluegrass instrumentation. Aiming for an almost psychedelic vibe, there are tempo changes that keep the songs interesting. In this case, a burning progressive mandolin break by Aaron Ramsey and really tasty dobro licks by Jeff Partin make this one of the most appealing songs on the album.
Another collaboration with Zach John King, “Fireball” is a tribute to a love that saves him from his vices. The song transitions from a slow folksy guitar song into a mid-song blazing dobro/banjo trade-off before returning to a measured ending.
Co-written with current Del McCoury fiddle player Christian Ward , “There Goes Another One” is an outright bluegrass burner, with an extended progressive jam featuring banjoist Jason Davis and again a great tempo change in the middle of the song.
“Till I Don’t Love You Anymore” is a breakup song that easily could be a classic country song.
Till I don’t hear your name
And have my heart stand still
Till I don’t see your face
And feel the way I feel
Till the waves stop crashing on the shore
Till I don’t love you anymore
“Oh Lordy Me” features traditional bluegrass stalwarts Ronnie Bowman and Junior Sisk, and on first listen it’s an up-tempo gospel-oriented crowd-pleaser; in live shows, the audiences are up and singing and clapping along with the song. But Via noted that he sees the song as a “secret protest”, with an environmental focus on the Blue Ridge mountains where he grew up.
Via has described “Hey Don’t Go” as a song about seasons and changes that occur, whether we want them or not. While the message is regretful, the song combines that regret with a hopeful bluegrass arrangement that captures the emotional swings that accompany life changes.
“Running With You” captures a road musician’s realization that his lover’s support means more to him than his quest for success. Like many of the songs on this album, this song overlaps bluegrass, country and folk genres.
“Falling” is my favorite song on this album. Another song co-written with Charlie Chamberlain, it starts off with a bluesy vibe with a banjo gradually becoming more obvious in the mix, with multiple tempo changes. The chorus is infectious and begs for a sing along.
“Mountain Lullaby,” written for his godson, features Ronnie Bowman and the Queen of Bluegrass, Rhonda Vincent. A beautiful traditional lullaby, the harmonies are exquisite.
From the very first track, it’s clear that this project is something special.
What sets this release apart is a great balance of technical skill and emotional depth. The writing is sharp and thoughtful, telling stories that feel both personal and universal. Whether it’s a quiet ballad or a more driving, up-tempo number, the lyrics never feel forced. The instrumental work deserves just as much praise. With a subtle acoustic run or a blazing banjo break, every note feels intentional and earned, but the production never allows the instruments to overpower the song. Via’s vocal performance anchors the entire album. His vocals are powerful but also can convey vulnerability. Several of these songs were written about his relationship with his former girlfriend (who became his wife over the holidays), and about his rural roots. He’s not just singing the songs, he’s inhabiting them. I’ve been fortunate enough to see several of his live shows, including the album release party, and his shows are dynamic with lots of audience participation. If you have an opportunity to see him live, it’s worth going out of your way.
This album doesn’t chase trends or rely on gimmicks. Instead, it offers something much rarer: craft. This is the kind of musicality that rewards repeat listens. If you’re looking for an album that combines quality songwriting, stellar musicianship, and a voice that commands attention, don’t sleep on this one. It’s not just good—it’s one of the year’s best.
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