This paper discusses the role of sound during triumphal entries in Edinburgh, and the creation of a complex celebratory soundscape accompanying the entrances of the Stewart monarchs in early modern period. It investigates the significance of sound-based events – for example musical performances, speeches, psalm singing, and festive cannon shooting – as expressions of political support, religious dissent, mistrust towards female rule, or uncertainty regarding foreign influences. A study of the location of the different events in relation to Edinburgh’s challenging morphology and urban shape will lead to a better understanding of how acoustic considerations informed the organisation of the event. In parallel, this paper discusses the importance of spontaneous acoustic responses from the crowd to an otherwise prearranged sequence of entertainments. The crowds of commoners participating to a triumphal entry could, in virtue of the volume, unpredictability, and omnipresence of their response – or to the opposite, their eerie quietness -, could claim a primary role in the celebrations and literally, and find their own political voice by engaging in the creation of the triumphal entry’s soundscape. Finally, this paper discusses the monarch’s responses to the burgh’s and the spectators’ auditory prompts – including examples of improvised royal singing.