Chapter 2 is ‘Progress: Ancient Custom in the Modern City’. Here I pursue sociopolitical questions prompted by ballad singing, in an analysis shaped by an understanding of historical time and process whereby the chief tension lay between an early modern conception of order, public space, and neighbourhood, as embodied by the singer, and a self-consciously modern urban programme of improvement and capital, advanced by journalists and the judiciary. I situate debates over ballad singing at the centre of this historical process, the better to understand both issues. I analyse the threats singers were said to represent, in moral and legal writing; the political power accorded to the song by authorities (centring on the endlessly repeated maxim of the early Enlightenment thinker Alexander Fletcher); contemporary medical views on the inflammatory power of music; the vexed question of public space; and the steps taken both to repress and to coerce ballad-singers. I focus on the few documented occasions when a ballad-singer had a demonstrable impact on the actions of a community, from Kennington, to Camden, to Whitechapel market, and I come to see the singer, not as analogous to rough music as such, but as a paradoxical, anachronistic voice of authority within those communities.