It also features a pair of maracas or a graj (scraper), a tanbou (barrel drum), and a large lamellophone, with three to five keys called manibula, maniba, or malimba, (depending on the geographic region) that provides the sound of a bass guitar.
Tumba francesa is the Cuban term for Haitian-derived recreational drumming and dancing; the style is still practiced among expatriate Haitian cane cutters.
Gage Averill has described the singer Auguste de Pradines (1879–1947), widely known by the name Kandjo, as an archetype of the meaning of the term as it evolved in the twentieth century: Kandjo fashioned a career that mixed bitter social satire ("Pa fe m sa"), patriotism, and tender local themes ("Erzulie") on a musical platform that combined French chanson, Haitian mereng, and Haitian traditional-style melodies.
Perhaps the most famous contemporary component of the twoubadou style among popular entertainers in the latter twentieth century was Jean-Gesner Henry, better known as Coupé Cloué was renowned for his sexually suggestive lyrics.
The 56th President of Haiti, Michel Martelly's (known by his stage name Sweet Micky) Pa Manyen Fanm Nan, Alan Cavé's Ma Rose, Mika Benjamin's Ou Pati, and T-Vice's Tu Me Touches, were all hits.
Twoubadou groups can be heard in Haiti at fèt patwonal (patron’s day feasts), during Carnival, at private parties, and in hotels and restaurants frequented by tourists.