The popularity of music in Restoration Shakespeare can be explained in part by the hitherto unacknowledged circulation of Shakespeare’s songs in print and manuscript during the Interregnum. It has often been assumed that the closure of the public theatres between 1642 and 1660 and the suppression of polyphonic church music caused seventeenth-century England to lag behind Europe musically. The Interregnum has therefore been side-lined by music and theatre historians in favour of the Restoration and its stimulating theatrical revival. While the cultural restrictions of the Civil War and Commonwealth inevitably impeded new theatrical works, a survey of the literature produced during the Interregnum confirms a continued interest in drama and dramatic song. The songs from Shakespeare’s original plays reached an all-time peak in their appearance in print during the mid-seventeenth century. The Wits, or, Sport upon sport reveals that during the closure of the theatres, excerpts from pre-war plays were performed privately. The diaries of Evelyn and Pepys indicate that recreational and domestic music-making flourished, and the distinction between professional and amateur musicians developed a fluidity that would persist into the Restoration. The irrepressible enthusiasm for dramatic songs fuelled the phenomenon that would come to be known as Restoration Shakespeare.