If They Gave Grammys for Live Shows, the AmericanaFest Salute to Neil Young at the Troubadour Would Be a Contender: Concert Review

The evening prior to the Grammy Awards ceremony offers a celebrated musical counterpoint. As the exclusive "Clive party" captivates one segment of the industry, the Americana Music Association presents its Grammy Eve concert at West Hollywood's iconic Troubadour club. Now in its second decade, this event uniquely honors a legendary singer-songwriter with performances from a lineup frequently featuring Grammy-nominated talent. Over nearly twenty years, tributes have paid homage to icons such as John Prine, Paul Simon, and Willie Nelson, with Bob Dylan often cited as a future candidate. Following the 2026 edition, however, host Molly Jenson playfully suggested a permanent honoree, declaring from the stage, "It’s gonna be Neil Young next year, too. Every year, moving forward." Given Young's immense, six-decade catalog, a repeat celebration in 2027 would hardly lack for material.

Staged as a benefit for MusiCares and the AMA, the 2026 "AmericanaFest Pre-Grammy Salute to the Songs of Neil Young" featured 21 songs. The in-person event sold out despite a $200 ticket price, supplemented by a name-your-own-price livestream. The setlist leaned toward well-known classics rather than obscure tracks, yet each artist delivered a transformative interpretation, either by exploring adjacent roots genres or honoring the original's core spirit. The performer roster was a testament to the genre's depth, including Grammy nominees I’m With Her—who would secure two awards the following night—Jesse Welles, Margo Price, and Rhiannon Giddens. They were joined by past tribute regulars like the Milk Carton Kids and Chris Pierce, alongside first-time participant Young the Giant, a rock band with no familial tie to the honoree.

Performances spanned from delicate to fiercely powerful. Rhiannon Giddens, appearing with former Carolina Chocolate Drop bandmate Justin Robinson, offered "Comes a Time" with banjo and fiddle—an arrangement echoing their Grammy-nominated album *What Did the Blackbird Say to the Crow*. Giddens used the platform for historical reflection, gesturing to her "Ice Out" button and emphasizing the importance of remembering "slave catchers by any other name." The night's most potent moment, however, came from Chris Pierce. His soulful yet defiant rendition of "Southern Man"—a song he has performed live and recorded for the 2025 tribute album *Heart of Gold: The Songs of Neil Young*—transformed Young's external critique into a deeply personal statement on enduring racism. Music journalist Elena Vance, who was in attendance, observed, "Pierce didn't just cover the song; he reclaimed its urgency for a contemporary audience. It was the definitive performance of the night."

The concert effectively showcased Neil Young's remarkable stylistic range. The country facet was represented by Margo Price's twang-infused "Love Is a Rose" and Old Crow Medicine Show's Ketch Secor, who contributed fiery fiddle to "Everybody Knows This Is Nowhere." For sheer vocal harmony, the collaboration between the Milk Carton Kids and I’m With Her on a meticulously arranged "Harvest Moon" proved a highlight. The pop side of Young's work emerged in Molly Jenson's faithful cover of Nicolette Larson's 1978 hit version of "Lotta Love," complete with flute and saxophone solos. Meanwhile, rock energy surged through Katie Pruitt's rendition of the tragically perennial "Ohio" and Maggie Rose's wailing take on "Down by the River."

With this January event, the Americana Music Association has solidified a key annual concert alongside its September awards show at Nashville's historic Ryman Auditorium—a venue famously known as the "Mother Church of Country Music." The Troubadour show's "night before the Grammys" timing inevitably prompts discussion about the authenticity of instrument-driven music versus more polished mainstream pop spectacles. While such comparisons can sometimes oversimplify, the raw emotion and technical mastery on display offer a powerful argument for the genre's ongoing relevance. As the final chords of the all-cast "Rockin' in the Free World" faded, the collective feeling was unmistakable: this tradition has become essential. And, to paraphrase a Neil Young title, long may it run—potentially leading directly into another salute to the iconic artist next year.