Enka songs that are easy for men to sing: a roundup of tracks to try at karaoke
You might be surprised by how many people want to try singing enka at karaoke.
Of course, there are those who love enka, but even among those who don’t, some people think, “I want to sing enka well and liven up the mood,” or “I often go to karaoke with older people, so I’d like to add some enka to my repertoire.”
In this article, we’ll introduce easy-to-sing songs for men who want to sing enka at karaoke.
Songs with a not-too-wide vocal range and simple melodies are considered easier to sing.
That said, what suits you can vary, so try singing a variety of songs first to see what works for you!
- Classic enka songs you’ll want to sing at karaoke: recommended popular tracks
- [2026] Easy Enka Songs Recommended for Karaoke – Male Singers Edition
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- [Men] Enka Songs That Can Score High in Karaoke
- Even karaoke beginners can relax! Easy-to-sing songs for men
- [Enka] A feature on male singers in their 60s: enka vocalists whose rugged charm shines
- Easy-to-sing enka: A roundup of recommended enka songs for karaoke
- [2026] Representative Famous Enka Songs: A Compilation of Classic Favorites [Beginner-Friendly]
- [Japan’s Best Vocalist] Fukuda Kohei’s Easy-to-Sing Karaoke Songs
- A collection of iconic, cool Showa-era kayōkyoku classics sung by male vocalists
- Queen of Enka: A roundup of Aki Yashiro’s easy-to-sing songs
- [2026] Recommended for those who find high notes difficult! Enka by male singers that you can sing in a low register
- [For Beginners] Recommended Enka Masterpieces for Karaoke — Male Singers Edition
Easy-to-sing enka recommended for men: A roundup of songs to try at karaoke (61–70)
Harbor TavernYamakawa Yutaka
The masterpiece “Minato Sakaba,” with its expansive vocals and bittersweet melody, leaves a strong impression.
Since it’s a relatively recent song, Yutaka Yamakawa’s low, mature phrasing—something he didn’t have in his younger days—really stands out.
Although this piece falls into the so-called ‘man’s song’ category and has plenty of power, it never resorts to the roughness of shouted vocals.
Instead, it conveys masculinity through lower tones, which makes it a bit challenging for men with higher voices.
The frequency and difficulty of kobushi (ornamental vocal turns) are far easier than in typical enka, so if you have a deep voice, consider adding it to your repertoire.
KeikoYamakawa Yutaka
Yutaka Yamakawa’s classic “Hotaruko” is memorable for its masculine lyrics that express deep feelings for a woman.
While it’s categorized as a so-called “man’s song,” its power is somewhat restrained compared to typical enka.
Instead, it emphasizes a smooth, mellow singing style, so high-level techniques like shouts aren’t required.
Also, aside from the very end of the chorus, there aren’t particularly difficult spots for kobushi (melodic turns), and even there, the kobushi functions as an extension of the vibrato.
Overall, the level of difficulty is quite low for an enka song.
Omokage Main LineYamakawa Yutaka
Yutaka Yamakawa, who delivers emotionally charged performances and excels at both masculine and feminine songs, is renowned for many works—but among them, Omokage Honsen stands out as a track that exudes distinctly masculine allure.
While it firmly retains elements of enka, the overall piece leans strongly into mood kayō (mood pop), especially emphasized in the A and B sections.
As a result, there are fewer instances of kobushi (ornamental vocal turns) and no complex pitch movements, making it perfect for beginners to enka.
Be sure to add it to your repertoire.
sunsetYamamoto Jōji
Released in 1988 as a single by Joji Yamamoto, “Yuuhi” is a masterpiece featuring poignantly melancholic lyrics by Toyohisa Araki that contrast the unchanging dynamics between men and women with the image of a setting sun.
Yamamoto’s careful, heartfelt delivery is deeply moving, and the song is popular at karaoke, so many people have likely heard it.
With an atmosphere between enka and kayōkyoku and only modest use of enka techniques like kobushi, it’s approachable even for beginners to enka.
The melody sits generally low, which helps those who struggle with high notes, but the overall range is somewhat wide—especially in the chorus, where it’s easy to go off pitch—so keep that in mind as you practice.
Dawn DreamTakeshima Hiroshi
Although Dawn’s Dream is positioned as the B-side to the 2015 single Melancholy Story, it’s a popular track with its own music video and the kind of classic that’s sure to get the crowd going at karaoke! It’s an up-tempo number with elements reminiscent of kayōkyoku and GS, and if you enjoy the “dance-inducing kayōkyoku” style that Takeshima later released, you’re certain to love this one.
The song structure has great dynamics, and the melody is very easy to remember and sing, so even if you’re not confident in your singing, try riding the rhythm and singing comfortably first.
Love Town CounterTakeshima Hiroshi
Released in 2018 as the first installment of Hiroshi Takeshima’s “Songs That Make You Dance” series, Koimachi Counter is a masterpiece that marked a new frontier for Takeshima, packed with the flavor of Showa-era kayōkyoku and popular songs.
The choreography known as the “Koimachi Dance” also became a hot topic, and it’s unquestionably a killer tune for karaoke.
There’s even a video where he performs the choreography together with fans, so be sure to check that out.
Koimachi Counter is easy to sing for anyone who loves Showa kayōkyoku, regardless of generation, and it’s perfect for getting everyone at a karaoke gathering to join in the choreography and get the party going—so definitely give it a try!
moon pillowTakeshima Hiroshi
Tsukimakura, released in May 2017 as a commemorative work for Hiroshi Takeshima’s 15th debut anniversary, became a long-running hit and was later certified Gold Disc.
Created by the golden duo of Goro Matsui and Takashi Toshimi—who gave rise to the “songs that make you dance (odorasarechau kayōkyoku)” series—it’s a masterpiece that lets you fully savor Takeshima’s refined, elegant vocal charm.
While retaining some enka-like elements, its core is a kayōkyoku-style medium ballad, so those who often sing Showa-era pop in karaoke should be able to handle it smoothly.
That said, delivering a mature, restrained performance without becoming overly emotional—like Takeshima does—is not easy to imitate.
I recommend listening to the original many times to deeply understand the song’s world before giving it a try!