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
- 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
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Easy-to-sing enka recommended for men: a roundup of songs to try at karaoke (51–60)
New York StoriesYamakawa Yutaka
Yutaka Yamakawa is known for actively singing pop songs, but he has also released tracks that mix pop, Showa-era kayōkyoku, and enka.
One such example is New York Monogatari.
Its structure is distinctive: it starts as pop, shifts to Showa-style kayōkyoku in the chorus, and weaves in enka nuances at key moments.
Because the foundation is pop and Showa kayōkyoku, advanced vocal techniques like kobushi aren’t required.
Despite its powerful feel, the song has a narrow vocal range, so even those who aren’t confident in their singing ability should be able to handle it without trouble.
Big brotherYamakawa Yutaka
A work that leaves a strong impression of masculinity and sincerity, “Aniki” honors an older brother and is known for its moving lyrics.
While the piece firmly inherits elements of enka, the vocal line is surprisingly understated, with none of the intricate kobushi runs typical of the genre.
If the presence of kobushi is used to define enka, this work would be classified as kayōkyoku, as every part features a simple vocal line.
As a result, even those who are not confident in their singing ability should be able to perform it without difficulty.
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.
Thank you to you.Yamamoto Jōji
Between 2000 and 2001, Joji Yamamoto released three singles with lyrics by Takashi Taka, music by Tetsuya Gen, and arrangement by Toshiaki Maeda.
The second of these is Omae ni Arigatou, which was released on February 1, 2001—Yamamoto’s birthday.
It’s a classic enka number characteristic of Yamamoto, conveying a gently melancholic mood and masculine strength through his distinctive kobushi vocal ornamentation, and it’s naturally very popular for karaoke.
While the expansive vibrato makes it a bit challenging for beginners, its overall difficulty is moderate for enka, making it a great practice song for those who enjoy this style.
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.
Headwind InnocenceTakeshima Hiroshi
Released in 2021 and peaking at No.
5 on the Oricon chart, the hit song “Mukaikaze Junjō” is a track that showcases Hiroshi Takeshima’s refined vocals and is also known as the theme song for the NHK BS drama “Daifugō Dōshin 2.” With lyrics by Goro Matsui and composition by Takashi Toshimi—both giants in the field—it’s a killer tune that evokes the golden era of Showa-era pop.
Many people will likely want to try it at karaoke.
When singing it at karaoke, be sure to pronounce each word clearly, and consciously create contrast between the crisp, rhythmic parts and the expansive, sustained phrases.
While recreating the choreography that drew attention in the music video, don’t be shy—go all in and sing with bold, stylish flair, even to the point of overdoing it.
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!