[1] In April 2013, performers, historians, ethnomusicologists, composers, cognitive scientists, empirical musicologists, psychologists, philosophers, anthropologists, educators, neuroscientists, studio engineers, and even music theorists converged in Cambridge, England for the Performance Studies Network Second International Conference organized by the AHRC Research Centre for the Musical Performance as Creative Practice (CMPCP). As Centre Director and conference organizer John Rink explained in his opening remarks, this conference was intended to spark further conversations and collaboration across and between disciplines. Unlike joint national conferences, which in spite of their unifying intentions tend to run in parallel, this was a rare and exceptional merging of diverse approaches, the mingling of which opened out into a fascinating range of topics, revealed and challenged often unquestioned assumptions that undergirded disciplinary frameworks, and shed light on conceptual obstacles that many of us still struggle to overcome. The success of this conference stemmed not only from its size and intimacy but also from the focus and theme of the conference: performers, performances, and their creativity.