The Most Idol-Like Star in the Enka World: Easy-to-Sing Songs by Kiyoshi Hikawa
Enka singer Kiyoshi Hikawa, who greatly energized Japan’s enka scene with “Kiyoshi no Zundoko Bushi.” With his idol-like, handsome appearance and stable vocal technique, he sparked a renewed boom in the 2000s, a time when enka was on the decline.
This time, we’re introducing some of Kiyoshi Hikawa’s songs that are easy to sing.
Because his musical background includes rock, many of his tracks have a pop-like feel.
We’ve gathered songs that even those unfamiliar with enka can sing, so be sure to check them out.
Enka's Top Idol: Hikawa Kiyoshi’s Easy-to-Sing Songs (1–10)
Akiko of the Starry SkyHikawa Kiyoshi
The song Akiko Under the Starry Sky was released in 2002.
It came out as the fifth single, but since the B-side, Denden-mushi, was used as the ending theme for an NHK drama, I imagine not many people remember this A-side track.
Despite that somewhat unfortunate fate, it’s actually a very easy enka song to sing.
The tempo is mid-tempo for enka, but it features an unusually large number of long tones, and those long tones are simply held with vibrato, making them very easy.
There are no complex kobushi that move up and down by three or four notes, so anyone familiar with enka should be able to sing it with ease.
Castle of White CloudsHikawa Kiyoshi
Compared to typical enka singers, Kiyoshi Hikawa has released many catchy enka songs.
His signature hit “Kiyoshi no Zundoko-bushi” is especially catchy and pop-oriented.
However, “Hakuun no Shiro” is different.
This work is classic, straight-ahead enka, even incorporating a touch of folk-song flavor.
As a result, while kobushi (ornamental vocal turns) appear as usual, the very slow tempo lets you build tension and then apply the kobushi effectively.
Having many rests before a kobushi is a very important element in singing enka.
If you want to sing authentic enka, starting your practice with this piece is a great idea.
PapillonHikawa Kiyoshi
Hikawa Kiyoshi’s unique masterpiece “Papillon,” with its strong rock flavor.
Hikawa Kiyoshi originally liked visual-kei rock, and this work offers a glimpse of his musical roots.
Its melody is reminiscent of DIR EN GREY, grand yet infused with a sense of drive.
That said, it’s not the kind of rock that features shouts or death vocals; the vocal line is more relaxed, closer to kayōkyoku, so the overall difficulty is on the lower side.
Be sure to add it to your repertoire.
It’s okayHikawa Kiyoshi
Hikawa Kiyoshi’s classic “Daijoubu” stands out for its comical vibe.
The optimistic lyrics leave a strong impression, and the melody is crafted to be light and buoyant to match.
The song features a clean, understated vocal line that fits the breezy tune perfectly.
There are no complex vocal ornaments, and many phrases end with a crisp cut, so there’s no worry about running out of breath on long notes.
Definitely consider adding it to your repertoire.
Osaka dragonflyHikawa Kiyoshi
Hikawa Kiyoshi’s classic song “Osaka Tonbo,” set in Osaka, features a bright, upbeat atmosphere reminiscent of bon odori.
The vocal line is crafted to be easy to sing throughout.
While the overall mood is cheerful and the range is fairly wide, the high notes appear only briefly, and most of the melody sits in the mid range.
In addition, the tempo is slow, and there are no intricate melismatic inflections that require dramatic pitch movement.
Because the piece leans strongly toward pop and kayōkyoku elements, it’s comfortable even for those who struggle with traditional vocal ornamentation.
Consider adding it to your repertoire.
phantom / illusion / vision / fantasyHikawa Kiyoshi
Among Kiyoshi Hikawa’s songs, the masterpiece “Maboroshi” is known as one of his finest ballads.
While Hikawa is often associated with his distinctive kobushi style that includes the hiccup-like flip of the voice, this piece contains none of those elements.
It leans far more toward kayōkyoku than enka, so the melodic movement is very gentle.
If you pay close attention to pitch control, you can aim for a high score even without exceptional vocal prowess.
Consider adding it to your repertoire.
My beloved TequiloHikawa Kiyoshi
Hikawa Kiyoshi’s classic “Itoshi no Tekīro” is memorable for its passionate melody.
Released not as an enka song but as a kayōkyoku track, it blends a distinctly Japanese kayōkyoku sound with Latin elements centered on bolero and flamenco in just the right balance.
The vocal range is somewhat wide, so it can be selective about who can sing it, but since it doesn’t feature kobushi—the intricate pitch ornamentation typical of enka—it’s actually one of the easier Hikawa Kiyoshi songs to sing.
Kiyoshi’s Zundoko SongHikawa Kiyoshi
The song that made Kiyoshi Hikawa’s name known nationwide, ‘Kiyoshi no Zundoko-bushi,’ is one of the catchiest among the many Zundoko-bushi numbers.
It’s an easy song overall, and the most challenging element of enka—the kobushi (melismatic ornament)—doesn’t appear very frequently.
Even when it does, the pitch doesn’t move up and down more than about three steps, so it’s really simple.
The piece does have a slightly wider vocal range, but there aren’t many long sustained notes, so as long as you have basic singing skills, anyone should be able to sing it without trouble.
Ooi Stalker OntaroHikawa Kiyoshi
Oikake Onjiro from Oi, a song by Kiyoshi Hikawa, is marked by its heartwarming melody.
While catchy, it still features melodies and vocal lines that firmly embody the essence of enka.
The kobushi (ornamental vocal turn) delivered with Hikawa’s signature hiccup-style flip of the voice is less difficult than the more typical kobushi that finely moves up and down the scale.
Since this song contains many such hiccup-inflected kobushi, its overall difficulty level is relatively low.
The Finest BoatmanHikawa Kiyoshi
Kiyoshi Hikawa’s classic “Mogami no Sendou,” released in 2019.
The song has a traditional enka feel, characterized by a relaxed tempo and a warm melody.
While the slow tempo means there are many long sustained notes—which can be challenging—it’s also easier to create pauses before adding vibrato-like kobushi, so the overall difficulty is relatively low.
If the kobushi at the end of the chorus feels difficult, it’s recommended to practice each kobushi section individually and then connect them together when singing the full phrase.