I begin the book with a comprehensive introduction that situates what follows within an interdisciplinary discourse on what is variously conceived of as ephemeral literature, popular culture, or folk song. Accordingly, the Introduction opens with a much-cited letter to John Reeves from 1792 concerning the power of ballads over mass opinion, locating my work within several existing strands of scholarship. After defining my terms and arguing for the importance of the singer to these fields of enquiry, as well as for the particular significance of London, I unpack the problematic idea of ‘music’ as something requiring special expertise, highlighting its accessibility to other disciplines, particularly History and Literature. This methodological exposition should be of especial value beyond the subject matter of the volume. Going on to outline the chronology of my period, to survey the existing field, and to address further the challenges and benefits of interdisciplinarity (with particular reference to the work of the musicologists Georgina Born, Carolyn Abbate, and Gary Tomlinson, which may be unfamiliar but extremely helpful to historians), I conclude with a synopsis of the book’s structure, its chapters, and interludes.