[For Beginners] Recommended Enka Classics for Karaoke — Women Singers Edition
In recent years, as Showa-era kayōkyoku has been attracting attention not only in Japan but also overseas, enka—often called the spiritual hometown of the Japanese—has also been drawing keen interest among younger generations.
Enka is a genre that has evolved in many forms, from classic, orthodox styles to songs with a strong kayōkyoku flavor and even pieces that fuse multiple genres, and it continues to enjoy enduring popularity in the Reiwa era.
For those new to enka, this article introduces classic enka masterpieces by female singers that are easy to try at karaoke.
We’ve compiled a lineup of timeless hits that even beginners are likely to know, so if you’re interested, be sure to check it out.
By the way, we also introduce a male-singer version in another article, so don’t miss that, either!
- [Enka] Songs that are easy to sing even for those who are tone-deaf [Female singers edition]
- [2026] Easy Enka Songs for Karaoke: Recommended Picks — Women Singers Edition
- [2026] Easy-to-Sing Enka: From Classic Masterpieces to Recent Hits [Female Singers Edition]
- [For Beginners] Recommended Enka Masterpieces for Karaoke — Male Singers Edition
- [For Women] A roundup of enka songs that can score high in karaoke
- A roundup of female enka singers in their 70s: voices that evoke nostalgia
- [2026] Amazing if you can sing them! Enka Masterpieces [Women Singers Edition]
- A roundup of leading female enka singers representing the Showa era
- [For Women] Masterpiece Enka Songs with a High Degree of Difficulty
- 【2026】Difficult Enka Songs to Sing — Women Singers Edition
- [Asian Songstress] A Collection of Teresa Teng’s Easy-to-Sing Songs
- [Enka] Songs That Are Easy to Sing Even for the Tone-Deaf [Male Singer Edition]
- Nostalgic enka. A collection of classic enka hits from the Showa era.
[For Beginners] Recommended Enka Masterpieces for Karaoke – Female Singers Edition (41–50)
snow camelliaKobayashi Sachiko
Yukitsubaki is one of Sachiko Kobayashi’s signature songs and holds great significance in her career as it was her first single after becoming independent from her agency.
The lyrics were written by the master Tetsurō Hoshino—his first single with her since “Mō Ichido Dake”—at Kobayashi’s own request, and she delivers a stirring performance of a grand, classic enka.
It’s also extremely popular for karaoke, so many enka fans are likely to belt it out at karaoke.
As mentioned, it’s a quintessential enka number, so techniques like kobushi (melodic turns) and vibrato appear, but the overall range is average, with no standout high notes or extended long tones.
Therefore, anyone who has a grasp of enka fundamentals should be able to sing it without difficulty.
[For Beginners] Recommended Enka Classics for Karaoke – Female Singers Edition (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.
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.
Red MoonIshihara Junko
Among Junko Ishihara’s works, the masterful song “Akai Tsuki” (“Crimson Moon”) stands out for its exceptional sensuality.
It vividly portrays a woman’s femininity as she elegantly pins up her hair for the man she longs for, and her passion as she devotes herself to him.
The vocal line matches this theme, crafted to be both gentle and fervent.
The tricky part is the kobushi ornamentation in the A verse; as it approaches the chorus, the vocal line becomes simpler.
Surprisingly, the song’s range is relatively narrow, so even those who struggle with high notes can sing it with confidence.
human dramaIshikawa Sayuri
Human Moyo (Human Patterns), with lyrics by Aku Yū and music by Sugimoto Mahito, is a single released by Sayuri Ishikawa in 2003.
It’s a love song in a major key that feels bright yet somehow wistful, featuring warmly toned guitar and Ishikawa’s intimate, conversational singing—such a lovely combination.
It’s also very popular for karaoke, and many people likely have it in their repertoire.
The characteristic enka-style vocal ornamentation (kobushi) is used relatively lightly, and the song includes J-pop elements, making it approachable even for beginners to enka.
Among Ishikawa’s songs, the pitch range is set on the lower side, so it’s easier to sing for those who struggle with high notes.
Daphne (winter daphne)Ishikawa Sayuri
Released in 1977, “Jinchoge” is an early masterpiece by Sayuri Ishikawa, who had transitioned from an idol to an enka singer and was riding a wave of success after her 1977 hit “Tsugaru Strait—Winter Scene.” While she had been releasing songs by the duo Yū Aku (lyrics) and Takashi Miki (composition), this track is notably penned by Ryo Shoji, composed by Katsuo Ōno, and arranged by Koji Makaino—a fascinating shift.
The overall key is on the higher side, which can be challenging for those who struggle with high notes; however, the kobushi and vibrato are not overly intense, and the pitch movement is relatively restrained, making the melody itself quite singable.
With its strong kayōkyoku flavor, it’s also recommended for fans of Showa-era Japanese pop.
channel markerKouzai Kaori
When you think of Kaori Kouzai, her vocals that bring out a strong sense of allure are striking.
Of course, those kinds of songs are wonderful too, but in her later years her melancholic numbers have become even more refined.
That’s why I recommend Mio-tsukushi.
It’s based on enka, but features a vocal line closer to 1980s pop-leaning kayōkyoku, with little use of advanced techniques like kobushi.
By deliberately using breath—audible exhales included—you can add dynamics and infuse the vocals with a sense of wistfulness, so please use it as a reference.