Along with Fatima El-Tayeb’s European Others in 2010, many other studies have increasingly focused to see how communities across Europe use vernacular strategies of language, sound, and sexuality to not only subvert and confront coherent notions of Euro-nationalist belonging but also move beyond the need to respond to the Eurocentric white gaze. While in western Europe these debates have mostly revolved around the supposed ‘native’ white European and the ‘migrant’ other, in Southern and Eastern Europe, these binary differences are more complex given the regions’ complex race-relations, much of which remain underexamined. This article is a modest attempt to probe the intersections of race, space, and spirituality in Kosovo through the debates that have emerged on tallava music. Specifically, I examine the ways in which tallava music generates complex racial and religious anxieties among the Albanian mainstream in Kosovo, Albania, and Macedonia, where the genre is associated with Albanian speaking Ashkali and Roma communities. The first section of the article deals with the pejorative words used in relation to the Roma people in regard to tallava, and how what is perceived to be European is seen as more prestigious. The second half of this article deals with the origins of tallava and how it is valued. Finally, in the conclusion, remarks are offered on the nature of race-relations, spirituality, and space in the context of weddings, which are the main forum in which tallava music is enjoyed.