Leftist singer and songwriter Neil Young has once again turned to politics, releasing a new song titled “Big Crime.” Debuted at Chicago’s Huntington Bank Pavilion, the song clearly criticizes President Donald Trump’s approach to crime in Washington, D.C. The lyrics are striking: “Don’t need no fascist rules / Don’t want no fascist schools / Don’t want soldiers on our streets.” Young’s message is unmistakable—he openly resists the president’s tactics.
The repetition of the line, “There’s big crime in D.C. at the White House,” and phrases like “Got to get the fascists out” constitute an overt attack on Trump. In the chorus, Young even references Trump’s campaign slogan, twisting it into a critique: “No more great again.” These lyrics reveal Young’s aim to paint Trump’s actions as oppressive and authoritarian.
However, even with Young’s talent, the delivery feels somewhat lacking. The song’s lyrics appear simplistic, even lazy. A more effective approach might have been adopting a less heavy-handed style instead of focusing solely on blunt slogans. It’s as if he simplifies his critique to the point where it could be reduced to a chant like “orange man bad.”
Aside from the questionable lyrical depth, there’s a significant concern regarding Young’s perspective on the issues at hand. Living in Canada, he is far removed from the crime problems he describes in D.C. While he sings about an urban crisis, he resides in a rural cottage in Omemee, Canada. This distance raises questions about the authenticity of his claims—how can he genuinely speak about a place where he neither lives nor experiences the conditions firsthand?
Interestingly, even D.C.’s Mayor Muriel Bowser has praised Trump’s decision to utilize federal law enforcement, acknowledging that it has contributed to lowering crime rates. After Trump’s involvement in the city from August 11, there was a notable period of nearly two weeks without a recorded homicide. This reality sharply contrasts with Young’s portrayal of D.C. as a chaotic, crime-ridden area under a “fascist dictatorship.”
The trend among certain artists and politicians to advocate from a position of comfort is nothing new. Young’s situation mirrors that of many on the left who voice loud support for movements and ideologies without confronting the realities faced by those living under such systems. For instance, California’s governor can opine on the state’s policies while remaining disconnected from the everyday struggles of its residents. Likewise, self-proclaimed socialists can champion systems that have historically resulted in suffering, often ignoring the insights of those who have fled such regimes.
Ultimately, while Young may seek to influence the discourse on crime in D.C., he does so from the comfort of his Canadian home. His willingness to wield his platform as a voice for dissent remains, but one cannot ignore the irony of a singer screaming for action while enjoying the detachment of a rural life far removed from the reality he critiques. The disconnect inherent in his positioning underscores a broader pattern: a tendency to advocate loudly for issues that, while important, are not lived experiences for those making the loudest claims.
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