This is a study of bamboo xylophones in Bali. Although many music scholars have researched Balinese bronze gamelan ensembles, few studies focus specifically on bamboo gamelans. In this paper, I explore the organological differences among the three main kinds of bamboo xylophones: rindik, grantang, and tingklik. The three instruments may be distinguished by their resonators as well as by their social and performance contexts. Rindik and grantang may be used interchangeably in the joged bumbung ensemble, which accompanies a social dance known as joged, whereas tingklik are performed primarily in rice fields or at home for personal enjoyment. Furthermore, both rindik and grantang may be played as “sitting pieces” (without dancers) in tourist venues, such as hotel lobbies and cultural parks. By contrast, tingklik feature in contemporary hybrid music by Gus Teja World Music, heard in spas, restaurants, and hotels throughout Bali. As in playing gender wayang, bamboo xylophones require the use of a mallet in each hand, and sometimes an additional mallet in the right hand. The form of this music involves repeated and varied phrases in a flexible design that adapts to the time available. This paper derives from fieldwork I conducted in the Tabanan regency of central Bali during the summer of 2018. I argue that similarities between the musical style and performance techniques of bamboo xylophones suggest a connection to the gender wayang repertory and may provide evidence that bamboo xylophones accompanied Balinese shadow puppetry prior to the introduction of bronze.