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
Diva of Enka: A compilation of leading female enka singers (ages 41–50)
Love is separationkawanaka miyuki
Miyuki Kawanaka’s classic “Ai wa Betsuri” is distinguished by its poignant melody.
While it preserves the essence of enka, the song as a whole leans more toward kayōkyoku.
As a result, the kobushi—one of the more challenging enka techniques—appears very little.
There is a vocal ornament that resembles kobushi in the transition from the B section to the chorus, but it’s more of a wide, fast vibrato than true kobushi.
If you’ve mastered basic vibrato, you should be able to reproduce it well.
Consider adding this song to your repertoire.
Diva of Enka: A roundup of leading female singers in the enka world (51–60)
Unrequited LoveHattori Hiroko
Hiroko Hattori’s classic “Kurenai Jōwa” is striking for its gently unfolding opening.
At first, you might find it sultry, but once the chorus begins, an unexpectedly grand and moving melody spreads out.
Because of this, the song calls for a wide range of expression, yet fortunately it contains very few complex elements.
Even the use of kobushi ornamentation is among the least in Hattori’s repertoire, so even those who struggle with enka should be able to sing it without trouble.
Consider adding it to your repertoire.
Kagerō HillHattori Hiroko
Enka is a traditional genre, but it has shown some changes over its long history.
One of these is a reduced emphasis on phrasing.
In the past, there was a strong awareness of distinct phrases, but nowadays, perhaps under the influence of pop music, many enka songs tend to prioritize smooth flow.
Hiroko Hattori’s classic Kagerō-zaka stands out with an old-fashioned structure that differs from such modern enka.
Kobushi (ornamental vocal turns) appear throughout the piece, but because the song is firmly structured around clear phrases, you can insert rests between one kobushi and the next.
Mixing rests into the kobushi not only adds flavor to the song but also lowers the vocal difficulty, making it a particularly recommended piece for those who want to build foundational enka skills.
Live with youIshihara Junko
Among Junko Ishihara’s songs, “Anata to Ikiru” is one of the most quintessentially enka works.
Perhaps because of her position as an “enka idol,” many of her tracks are catchy and feature relatively few kobushi (melismatic turns), but this piece includes them in earnest.
Of course, adding kobushi increases the difficulty; however, the kobushi here move up and down by only about three scale degrees at most, and there are no passages that require executing kobushi while belting.
As a result, even though it is authentic enka, the overall difficulty level is set on the lower side.
taking shelter from the rainIshihara Junko
Amayadori, a famous song by Junko Ishihara, is marked by its gently moist, delicate melody.
While its structure is characteristically enka, the vocal line leans more toward pop than traditional enka.
As a result, there are no kobushi ornaments—the complex pitch bends and turns typical of enka.
If you want to sing this piece more effectively, try delivering the end of the chorus with a slightly bluesy feel.
This section uses a vocal line often found in Black music, and if you lower the initial pitch by about a quarter tone, it will suddenly sound much more professional.
Rain of MemoriesIshihara Junko
Junko Ishihara’s signature song “Omoide no Ame” embodies modern enka.
While firmly inheriting the genre’s core elements, it’s also as easy to sing as a pop tune.
It does feature kobushi ornamentation, but not the fast, scale-jumping kind—rather the type with a deliberate pause—so it isn’t overly difficult.
On top of that, the vocal range is narrow and there are no parts that require belting, making it truly a beginner-friendly enka song.
Definitely consider adding it to your repertoire.
Yorisoi grassIshihara Junko
Yorisoigusa, a masterpiece by Junko Ishihara that beautifully captures one of enka’s charms—its wistful melancholy.
Although this song features more subtle kobushi (ornamental turns) than many of her other works, they aren’t the kind that repeatedly shift pitch on the same vowel; rather, they add a light embellishment to the ends of phrases, so the overall difficulty isn’t very high.
In addition, the vocal range is narrow, so as long as you focus on dynamics and pitch control during long tones, you should be able to deliver it with a high level of polish.
Be sure to add it to your repertoire.