You can’t fault Neil Young for his industry. Second Song is his second new album of 2026: the first, a double live set called As Time Explodes, was released just over three months ago. Indeed, at 80, his work schedule seems mind-boggling. Since 2020, he’s released nine new albums, a 30-minute EP, five self-directed films and three more films directed by others, 10 archival live albums, six archival studio albums and two immense box sets. He has embarked on tours with his longstanding backing band Crazy Horse, his recently convened backing band the Chrome Hearts, and solo. He has gone to public war with Spotify, Amazon, Ticketmaster and – briefly – the BBC’s coverage of Glastonbury, and penned umpteen op-ed pieces about politics, the environment and corporate media for his online newspaper the Times-Contrarian. When he recently cancelled a European tour citing exhaustion, it was hard not to think: well, I’m not surprised.
You do find yourself wondering if his workload is such a good thing: not just for an elderly gentleman’s health but also for the quality of his output. Young has always prized spontaneity over finesse, but some of his more recent releases have suggested that at least a soupçon of finesse might not go amiss. Last year’s Talkin to the Trees, however, seemed to cross the line that separates the instinctive from the dashed off. Young frequently sounded as if he was making the material up as he went along, with nugatory results: “When today has come and gone, I might be singing my new song,” he offered on Family Life. “Might be short, it might be long, but I’ll be singing my new song.” If some of the melodies sounded familiar, that’s because they were. Not one but two tracks echoed the tune of Woody Guthrie’s This Land Is Your Land; First Fire of Winter was essentially Young’s 1970 masterpiece Helpless with different lyrics; Thankful rewrote 1992’s Harvest Moon.
