Diva of Enka: A roundup of female singers leading the enka world
When you hear “diva of the enka world,” which singer comes to mind? If you’re an enka fan reading this article, you’re probably thinking, “I can’t pick just one!” This article will introduce, all at once, the women who are leading Japan’s enka scene.
We’ve selected popular female enka singers from across different generations.
Be sure to listen to their songs, and if one catches your interest, check out more of her music too.
- A roundup of female enka singers in their 70s: voices that evoke nostalgia
- A roundup of 40-something female enka singers with captivating voices
- A roundup of captivating enka female singers in their 50s [2026]
- [2026] A roundup of female enka singers in their 60s: Artists who support Japanese enka
- [Enka] A special feature on female singers in their 30s: Kayō singers whose music goes beyond enka
- Popular Enka Singers Ranking [2026]
- Women’s Enka: A collection of classic enka songs expressing women’s emotions
- [Enka] A special feature on female singers in their 80s. Singers who were active from the early to mid-Showa era.
- 【2026】Difficult Enka Songs to Sing — Women Singers Edition
- Classic enka songs you’ll want to sing at karaoke: recommended popular tracks
- A roundup of leading female enka singers representing the Showa era
- A roundup of female enka singers in their 20s: The young divas of the enka world
- Debut song of an enka singer
Enka Songstresses: A roundup of leading female singers in the enka world (31–40)
flower raftTakahashi Kiyoko
“Hana Ikada” is a song released by Kiyoko Takahashi in March 2025, composed by Saburo Kitajima, also known as Joji Hara.
The image of a woman living as if against the flow of the river is beautifully conveyed through the emotive melody and Takahashi’s rich, velvety vocals.
The lyrics, which reflect a life view of “living while carrying one’s scars” and “never forgetting the kindness received from others,” are deeply moving.
It’s an enka piece that can serve as a compass for how to live.
Purple Rain SentimentFuji Ayako
Here is one of Ayako Fuji’s signature songs and a masterpiece in the history of Japanese enka: “Murasaki Ujō.” Released in 1993, it reached a peak of No.
8 on the Oricon charts and was also performed at that year’s Kōhaku Uta Gassen.
It has the feel of classic, heart-tugging enka: despite its bright chord progression, there’s a certain wistful atmosphere that evokes a distinctly Japanese sensibility.
True to enka style, the melody moves from a low register in the first half to a high-register chorus, then back down again, finally rising to a soaring high at the end—a quintessential structure.
Fuji delivers a careful, unforced performance, employing the fundamental techniques of enka.
It’s perfect as an introduction to the genre, and if you want to practice ornaments like kobushi and hikkake, definitely give this song a try!
crimsonFuji Ayako
Released in 1996, Ayako Fuji’s single “Beni” (read ‘beni,’ not ‘kurenai’) opens with a line that makes your heart skip a beat.
It’s a classic enka number characteristic of Fuji—expressing the complexities of a woman’s heart with a supple, alluring voice—and a reassuring masterpiece for enka fans.
As a quintessential enka song, it doesn’t feature particularly tricky melodies, so anyone accustomed to singing enka should have no trouble performing it.
Be mindful of the contrast between the leisurely, expansive melodic lines and the more rhythmical sections where the lyrics are slightly packed in, and sing it without forcing yourself.
Forgetfulness SakeNakamura Mitsuko
Mitsuko Nakamura’s classic “Wasure-zake” is memorable for its orthodox phrasing.
Because it’s solidly enka, the number of kobushi (melismatic turns) is fairly high, but the overall difficulty is low since the song’s kobushi incorporate a hiccup-style flip into falsetto.
Among the various types of kobushi, the flipping kind is relatively easy to sing; however, if the key is too low, the voice may not flip, so it’s best to set the key slightly on the high side.
The vocal range itself is on the narrow side, so boldly raising the key is recommended.
evening drinkNakamura Mitsuko
Mitsuko Nakamura’s poignant classic “Banshaku” (Evening Drink).
While she is renowned for her “man’s songs,” this piece is especially known as one of her most popular in that style.
True to Nakamura’s roots in the Kawachi Ondo tradition, the song primarily employs the hiccup technique, which flips the voice.
The ornamentation (kobushi) that uses this hiccup is less difficult than that of typical enka, resulting in a vocal line that’s easier for beginners to sing.
In addition, the tempo is particularly slow even among her works, and there are well-placed rests before executing the kobushi, which also makes it easier to perform.
Diva of Enka: A compilation of leading female enka singers (ages 41–50)
As I AmNakamura Mitsuko
Among Mitsuko Nakamura’s songs, “Sugao no Mama de” is known as an especially moving piece.
Within her catalog, this work has relatively few enka elements, and the number of kobushi (ornamental vocal turns) is kept low.
The few kobushi that do appear stay within a rise and fall of just one or two notes, making the song approachable even for those who aren’t comfortable with kobushi technique.
Furthermore, although she is known for songs with wide vocal ranges, this piece falls into the comparatively narrow-range category, so even singers who struggle with high notes can perform it with confidence.
Tearful LoveYashiro Aki
Aki Yashiro possesses a very unusual vocal quality for a singer.
Typically, as singers age, their lower register gains more heft, but in her case it was the opposite—she had a richer, deeper low range when she was younger.
One of the works released early in her career is Namida Koi.
Its slightly muffled, husky voice timbre leaves a strong impression, doesn’t it? As enka, this piece features relatively few kobushi ornaments and incorporates plenty of kayōkyoku (Japanese pop) elements, making it easy to sing even for those who aren’t fond of enka.