Before Jesse Welles was Jesse Welles, Neil Young was Jesse Welles. Which is to say, the reigning paragon of protest music. He reminded his audience of that Monday night at the Hollywood Bowl with a four-song sequence of powerfully raging tunes about America that couldn’t possibly have been programmed into his set in that order accidentally. “Southern Man,” his early 1970s broadside against institutionalized racism, was followed by “Ohio,” a classic heart-tugger that cemented for all time how government can be turned against its people. Those two songs together were galvanizing enough, but Young quickly established that he is not just about resistance-as-nostalgia, following those with “Big Crime,” a brand new anti-Trump tune, and “Long Walk Home,” a ’90s number questioning America’s id

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