My third chapter – ‘Performance: The Singer in Action’ – is an extensive consideration of the practice of singing in the streets. Its focus narrows repeatedly upon the act of performance itself: from citywide topography and issues of calendar and clock time; to performance in specific sites; to voice, body, and audience engagement; to the singer’s relationship with the physical ballad sheet in performance. I explore how balladeers overcame numerous challenges – geographic, sonic, social – by means of specific strategies, from the pitch of their voices, to the use of props, to borrowing the psychological weaponry of beggars. The chapter is therefore also in conversation with histories of charity and disability, as well as aspects of human geography. I am especially interested in the creation and maintaining of crowds, the appropriation of public space, the manipulation of codes of moral obligation, and above all in the musical and theatrical aspects of singing: it is central to my argument that we take ballad-singers seriously as being, on some level, artists. This is most evident in my discussion of voice, which – though it borrows heavily from musicology – is unrepentantly historical and leads us inevitably back to issues of class-consciousness.