Ektara sits at the heart of Baul music, a one-stringed drone instrument whose simple twang seems to pluck straight at the soul. Alongside it, the dotara—usually boasting two to four strings—adds melodic depth, its fretted neck guiding listeners through winding spiritual narratives. Percussion comes courtesy of the duggi (a pair of small hand-held drums) and the khamak, where singers pinch a flexible string to create rhythmic echoes that ripple like gentle mantras.

A handful of manjira (small cymbals) often sparkles in the mix, punctuating verses with bright, ringing accents. Some troupes bring in the khomok—a traditional jaw harp known elsewhere as a Jew’s harp—to introduce otherworldly overtones, while banshi (bamboo flute) adds a breathy, wandering melody that feels like dawn breaking over the Ganges.

These days, Baul ensembles sometimes thread the needle between old and new by slipping a harmonium into their setup or experimenting with acoustic guitar riffs at festivals in Kolkata and Dhaka. Even on global stages—from UNESCO heritage showcases to summer line-ups at WOMAD—Baul minstrels keep hitting the right note, blending centuries-old mysticism with fresh musical twists. The result? An intoxicating tapestry of sound that refuses to stay confined to any single tradition.