Over the past quarter-century, Celtic music has slowly declined on the global stage and been replaced as the de facto pan-European world music by a bricolage of Romani, klezmer and Balkan styles. These primarily East European musics have been adopted, adapted, fused, confused and ultimately claimed by northwestern Europeans as part of a wider project of reimagining their own identities in the post-Cold-war era. The music industry has not given a name to this trend, but the contributors to this volume have come to call it the ‘New Old Europe Sound’.