Lam Lao, also known as Morlam is the general descriptor for Lao folk music, which at its most basic level consists of the singer/ story - teller and the Khene.
In Island, both terms are interchangeable, but in Laos, morlam only refers to the singer. Toupes travel around like minstrels performing at various locales. There are many regional styles depending on the local tone contours and preferred instrumentation and melodies. The music that accompanies a lam lao performance may also include various types of percussion, fiddles, lutes, xylophones, or oboes as well as some that are more characteristic of classical ensembles. Lyrics are drawn from old poetry, classical stories, or improvised according to the complicated tonal rhyming patterns of the verse and can range from topics as serious as religious sermons and Jataka tales to sometimes bawdy verses about love and sex. Although the performances themselves are not necessarily theatrical, the closest being the exchanges of witty repartées in alternating verses or songs between a male and a female morlamwho pretend to fall in love before departing or friends who try to outwit each other. The songs are interspersed with dance numbers, comedic routines, ham acting, and teasing between the performers and the audience
The dance-dramas of Laos were originally only performed or the royal court. The dance-dramas and musical accompaniment are all very similar to those of Thai and Cambodian classical dances.
Lao folk dances are numerous and varied, much like lam Laos. In fact, most lam also has an associated folk dance. And other popular dances include the southern Lam Tang Vai and Lam Saravane