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!
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- [2026] Representative Famous Enka Songs: A Compilation of Classic Favorites [Beginner-Friendly]
- [Japan’s Best Vocalist] Fukuda Kohei’s Easy-to-Sing Karaoke Songs
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Easy-to-sing enka recommended for men: A roundup of songs to try at karaoke (11–20)
old man teacherSen Masao
Masao Sen has left behind many great songs, but among them, Oyaji Sensei is especially known for its outstanding storytelling.
The spoken lines at the beginning draw you into the piece, and from there the world of the song unfolds all at once.
The depiction of sharing drinks with one’s former teacher is particularly memorable, and the whole piece is set to a warm, unhurried melody.
There’s hardly any kobushi (ornamental vibrato), so even those who find enka vocal stylings challenging can sing it comfortably.
Consider adding it to your repertoire.
Yaima (Yaeyama)Sen Masao
Among recent songs, Yaima (Yaeyama) is especially renowned as a masterpiece.
Originally released in 1999, it was recently re-released as a new version.
Compared to the original, it has a more relaxed atmosphere, and since it’s a song set in Okinawa, the essence of Ryukyuan music—most notably the sound of the sanshin—is emphasized.
As it incorporates many pop elements, there are hardly any demanding techniques such as kobushi (ornamental vocal turns).
It’s a song that beginners will find very easy to sing.
Our town was green indeed.Sen Masao
Masao Sen’s classic “Waga Machi wa Midori Nariki” is notable for its gentle melody.
While it is nominally classified as enka, the vocal line strongly reflects the essence of Showa-era kayōkyoku, and the characteristic enka vocal melisma (kobushi) is scarcely present.
The few instances of kobushi are mostly limited to a single scale step up or down, so even those not adept at enka-style phrasing should be able to sing it without difficulty.
If you enjoy songs with a nostalgic, old-fashioned mood, consider adding this one to your repertoire.
Motomachi BluesSen Masao
Speaking of the Showa era, it’s also memorable as the heyday of blues.
Unlike overseas blues, the Japanese take on blues was about whether it carried a bluesy feel within an enka style, and by that definition, this work is a spot-on blues kayō song.
It preserves the essence of enka while combining the grit of blues with the singability of pop kayō, and the vocal lines are kept very simple throughout.
It’s approachable even for beginners, so consider adding it to your repertoire.
70th birthday celebrationSen Masao
The piece “Koki Celebration,” cherished by many fans as a late-period masterpiece, is exactly what its title suggests—a work celebrating one’s seventieth birthday.
True to that theme, it features a warm, inviting melody.
While it’s solidly enka, most of its characteristic kobushi rely on Masao Sen’s unique style of completely stopping the voice to form the phrases, so you shouldn’t find the ornamentation particularly difficult.
Because it begins with a clear, decisive opening, you’ll need some familiarity with singing it.
Be sure to add it to your repertoire.
You are everything.Sen Masao
Masao Sen’s classic “Kimi ga Subete sa,” released in 1998, is on the technical side among his songs and features frequent kobushi (melismatic turns).
Usually, pieces like this are often difficult, but this one has a secret that makes it easy to sing despite the many kobushi.
That secret is that the kobushi are executed using vibrato.
The kobushi that appear here aren’t like the ad-libbed “runs” you hear in Western music; they’re extensions of vibrato, which makes them far easier to reproduce than typical kobushi.
Poem of Miso SoupSen Masao
The uniquely titled piece “Miso Soup Poem” leaves a strong impression.
It’s not exactly a comic song, but it carries a flavor somewhat reminiscent of Ikuzo Yoshi, featuring lyrics and a melody that evoke both pathos and charm.
The vocal range is on the narrow side, mostly occupying the mid-to-low register throughout.
Near the end of the chorus there’s a slightly higher phrase, and a brief kobushi-style turn that shifts the scale by one step appears there, so it’s best to pay attention only at that point when singing.
Consider adding it to your repertoire.
Song of YouthSen Masao
Known as a masterpiece from his later years, “Song of Youth.” Released as the coupling track when the new version of the classic “Yaima” came out, it’s arranged to match the single’s overall mood, resulting in a very relaxed and warm tone.
It does feature kobushi ornamentation, but since it’s the type characteristic of Masao Sen—where he completely stops the voice briefly to shape the phrase—the difficulty is minimal.
It’s very easy to sing even for beginners to enka, so consider adding it to your repertoire.
nostalgic personSen Masao
Among Masao Sen’s songs, “Natsukashi no Hito” is renowned as a particularly mood-rich piece.
While the arrangement prominently features traditional enka elements, the vocals lean closer to Showa-era kayōkyoku and folk, resulting in a simple, streamlined vocal line.
The range is somewhat wide, but there are no difficult techniques involved, and the tempo is relaxed, making it easier to sing than it might sound.
If you use the hiccup technique, where the voice flips, you can get even closer to the feel of the original, so give it a try for reference.
Beside the TearsSen Masao
Masao Sen is known for his wide-ranging repertoire, but among his works, “Namida no Tonari” is especially beloved by many fans as a real outlier.
While it’s categorized as enka and the vocal lines are sung very much in an enka style, the song as a whole incorporates a Hawaiian music flavor.
As a result, it settles into a very relaxed tempo, with relatively few instances of kobushi (ornamental vocal inflections), which is a distinctive feature.
Consider adding it to your repertoire.