Top 50 Most Difficult Songs for Female Singers
Welcome to MsMojo, and today we’re counting down our picks for the most demanding songs written for female vocalists.
#50: “Zombie”
The Cranberries
The late Dolores O’Riordan had one of the most distinctive voices in popular music. Despite the Cranberries’ rock sound, her own work employed classical and difficult-to-master techniques like yodeling and keening. As beloved as it is, there’s a lot to consider about “Zombie.” Its allusions to the decades-long Troubles of Northern Ireland makes it more than just a song. To carry this one off, it takes gravitas and a deeper understanding of the pain and technique behind it. Mastering repeated phrases and a punching, aggressive approach to the lyrics, her voice is both beautiful and stirring to listen to.
#49: “Spectrum”
Florence and the Machine
After her band’s aptly-titled debut, “Lungs,” Florence Welch pushed her big voice even further with “Ceremonials.” The album’s track list is full of songs meant to showcase and test her abilities. While “Never Let Me Go” is often cited as one of Florence and the Machine’s most challenging songs, Welch herself feels that “Spectrum” is way up there in terms of difficulty. In a 2025 interview with Far Out magazine, she explained that she hasn’t sung the song in years. When she wrote it outside of her usual register, she didn’t think about having to recreate it live over and over.
#48: “Girls Just Want to Have Fun”
Cyndi Lauper
It may be a popular song to scream at the top of your lungs, but that doesn’t make it less hard to sing. Cyndi Lauper’s highest notes are not for the faint of heart. “Girls Just Want to Have Fun” was originally written by and for a man. However, changes made to the song between its composition and its recording made it a very different song. Lauper’s distinctive wail and yelps are hard enough to pull off. But the song is a little too high and a little too fast for an untrained singer to ever really sound good performing.
#47: “Rainbow High”
Patti LuPone
“Evita,” Andrew Lloyd Webber and Tim Rice’s blockbuster biomusical about the former First Lady of Argentina, hands its leading actress several whoppers. Original Broadway star Patti LuPone made her name with it. “Don’t Cry for Me Argentina” requires power and gravitas, but “Rainbow High” is the real test. The song sees Eva Perón summing up the image she must present during her diplomatic tour of Europe. It’s a rollercoaster. The changing meter of the song is already challenging. But the constant shifting between low and high notes is liable to trip up even the best singers.
#46: “Let It Go”
Idina Menzel
Something about powerful, misunderstood, musically-gifted witches brings out the best in Idina Menzel. Her big showstopper from “Frozen” is a musically complex song. Engaging the musical theater star’s legendary vocal agility, “Let It Go” is an avalanche of emotion and fierce belting. It’s also incredibly fast for the kind of ballad it is. The song’s writers knew what they had with Menzel, and composed it with her three-octave range in mind. She sings it like a dare to do it better. But that’s just the beginning. The Broadway version is even more belty and vocally-demanding.
#45: “You Oughta Know”
Alanis Morissette
Some songs just make you want to scream along. Alanis Morissette’s post-breakup revenge song is one of them. “You Oughta Know,” is an anthem of righteous anger and intense heartbreak. There’s a lot of ground to cover emotionally and musically and bridging the gap between the verses and that unforgettable chorus is not easy. Morissette performed it in one take at the end of a long session. A lot of its success has been chalked up to how unpolished and intimate the record feels. The problem with performing it is that Morissette’s raw, distinctive lilt and authenticity are hard to copy.
#44: “By the Sea”
Angela Lansbury
The original Mrs. Lovett made this song from “Sweeney Todd” look easy. As the eccentric piemaker in love with a homicidal barber, Angela Lansbury takes a patter approach to “By the Sea.” It seems like a piece of cake- or, rather, pie. But if you’ve ever tried to sing this one, you’ll know the feverish way it has to be sung is anything but effortless. Delivered in sharp, short lines, the lyrics are smashed together and don’t really give you much opportunity to breathe. Even when the music slows down, the lyrics don’t. That’s not even to mention the amount of high falsetto notes she has to hit mid-breath.
#43: “My Immortal”
Evanescence
Anchored by a sentimental string and piano backing, this gothic ballad is sad but effective. Evanescence frontwoman Amy Lee was praised for her delicate handling of this really tricky song. If you’re not perfectly attuned to the song’s music and message, “My Immortal” can easily sound whiny. Sadly, many of us have found that out. Because it’s so mournful, it’s easy to go wrong and have a full-on voice crack when you’re supposed to sound elegant and ethereal. Lee’s voice is perfect for this deeply emotional mode. Her spot-on vocal is exactly why it became one of the band’s signature tracks.
#42: “Through the Fire”
Chaka Khan
Deceptively chill and lowkey, this song is actually a huge challenge. “Through the Fire” is one of Chaka Khan’s most famous tunes. Though it features her voice at its smoothest, it also highlights her almost horn-like sound when she really starts going for it. Khan is a gifted vocal technician, able to quickly shift octaves, often in the same breath. And if that weren’t enough, she sounds immaculate on the harmonies and ad-libbing she’s doing over the melody. “Through the Fire’s” climax is a building series of high notes and jazzy improvisations that are not for the beginner vocalist.
#41: “Memory”
Elaine Paige
Grizabella, the faded Glamour Cat, gets this musical’s biggest moment. “Memory” is not just the most recognizable song from “Cats,” it’s also the hardest to get right. Without sheer lung capacity and emotional resonance, it can sound drippy and overwrought. This is a song that requires a lot of sustained power, not just vocally but in terms of acting ability to communicate the song’s pretty heavy themes.. With big belters who have significant acting chops like original West End star Elaine Paige and Broadway’s Betty Buckley, “Memory” is in great hands.
#40: “Hello”
Adele
A few years removed from her superstar-making “21,” the British singer-songwriter came back with a ballad to rival anything on that album. Her third album’s lead single brought Adele back into deeply emotional territory. “Hello” definitely makes use of her full powers. As a profoundly moving ballad about reconnecting with a loved one, it’s already a bit more dramatically complex. Adele softly coos the verses, deftly handling the curves of the melody in her lower, smoky register. But the chorus requires a higher register and a strong belt. To nail this song, you have to be able to do both.
#39: “Getting Married Today”
Beth Howland
When it premiered on Broadway in 1970, “Company” was pretty revolutionary. The show is a series of musical vignettes about marriage, and each character’s song stands out for totally different reasons. “Getting Married Today” belongs to Amy, a bride whose cold feet has turned her wedding day into a nightmare of epic proportions. The patter song is so jam-packed with hilarious and absurd lyrics that there’s no space to think, let alone breathe. But it’s not just breathing that’s a problem here. Stephen Sondheim’s lyrics can be complicated tongue-twisters even at normal speed. At this speed, they’re almost sadistic.
#38: “Dreams”
The Cranberries
In 1994, the Cranberries’ released one of the most beautiful songs in their catalog. One reason “Dreams” is incredible is because it makes full use of lead singer Dolores O’Riordan’s abilities. Those ethereal vocalizations on the track are actually a centuries-old tradition called keening. Vocal flips like this, from chest voice into head voice, may sound light and airy but they are not easy to reproduce. They require a certain level of mastery to sound anywhere near pleasing to the ear. And if you tried to do the song without them, it just wouldn’t be the same.
#37: “Bleeding Love”
Leona Lewis
After winning “The X Factor,” the British singer hit the ground running. Her biggest single, “Bleeding Love” is a prime example of what set her apart from other artists. A mid-tempo R&B ballad, it was originally written by Jesse McCartney. However, it was later rewritten to make better use of Lewis’ impressive range. “Bleeding Love” almost constantly requires its performer to demonstrate a broad range of notes within a short phrase. It also has an incredible run in the back half of the song that’s not for the faint of heart - or voice.
#36: “If I Ain’t Got You”
Alicia Keys
This song has its heart in the right place, but it’s where the breath is placed that matters. The composer and singer didn’t do herself any favors when she wrote “If I Ain’t Got You.” Full of runs, short sharp stops, and fast-paced lyrics in the chorus that make you have to watch where you choose to take your breaths, the track is pretty demanding. The title phrase itself is hard enough to get right. It ends on a high note that comes in at the end of the phrase and doesn’t leave much room for error. We’ll leave this one to Alicia Keys.
#35: “It’s All Coming Back to Me Now”
Celine Dion
There’s a rumor that Jim Steinman actually refused to let his frequent collaborator Meat Loaf record this ballad. Known for his opulent and elegiac style of songwriting, Steinman insisted “It’s All Coming Back to Me Now” had to be sung by a woman. Celine Dion released her version in 1996, and it became an instant camp classic. This is a track full of intense emotion and oxygen-defying power. Not only does it have sustained, bold notes, but this song is over seven minutes long. The stamina that it takes is kind of amazing to think about.
#34: “Good Luck, Babe!”
Chappell Roan
In 2024, the Grammy winner for Best New Artist released this song, which became a huge hit. “Good Luck, Babe!” sometimes feels like a series of vocal gymnastics. One of the things that makes it difficult is that it has several shifts between falsetto and chest voice. These shifts also aren’t given much lead-up. The track’s producer, Dan Nigro, explained that recording it was an exceptionally long process because of how complex the vocals are. Roan’s technical gifts made the possibilities almost endless. That’s great for them. The rest of us trying to sing it at home are risking vocal damage every time.
#33: “Glitter and Be Gay”
Barbara Cook
As playful as it is hard to sing, this flitty number from “Candide” first dazzled audiences in 1956. “Glitter and Be Gay” straddles the line between opera and musical theater. Its performer has to balance incredibly high notes and the staccato vocalizations, all while acting the song’s incredibly rich comedy. This was probably a walk in the park for Barbara Cook, one of Broadway’s most famous sopranos - or at least she makes it sound so. The song has since been reintroduced to audiences by a number of divas, including Kristin Chenoweth. Frankly, trying to follow in their footsteps takes a lot of bravery and a lot of delusion.
#32: “Stay with Me”
Lorraine Ellison
Soul-baring and raw, this 1966 track is a masterclass in emotions. “Stay with Me” is full of anger, desperation, longing, and lust. Lorraine Ellison’s first recording is essential, but the song tends to bring out the best in every incredible performer who takes it on. That doesn’t mean it’s easy. Sustaining those notes and still sounding good is one thing, but that’s only half the battle. A performer can only carry it off if they believe each agonized word of it. Without putting every ounce of yourself into it, “Stay with Me” would just feel awkward.
#31: “Crazy on You”
Heart
Legendary rock goddess Ann Wilson is one vocalist you don’t want to mess with. As part of the group Heart, Wilson and her sister Nancy wrote “Crazy on You” together. The weaving and wild series of notes in the chorus make this one a pretty steep hill to climb. Wilson wails into the mic without ever losing control of her pitch. If a singer doesn’t have total command over the peaks and valleys of their vocal range, they don’t stand a chance on this one. The fact that Wilson was able to recreate those vocals live is a wonder in itself.
#30: “Video Games”
Lana Del Rey
It’s the song that put her on the map, and for good reason. “Video Games” sounded unlike anything else released at the time. The slower tempo and dreamy production helped it stand out among the standard pop fare. It may not seem like the most complicated track to learn, due to it primarily being in a lower key. However, Del Rey’s distinct style makes it much harder to pull off. She infuses the lyrics with pure emotion, all while carefully riding the line between having a rich and airy tone. This creates a unique sound that’s tough to emulate. Without either component, the performance runs the risk of becoming tedious – something she’s managed to avoid her entire career.
#29: “Long, Long Time”
Linda Ronstadt
Loving someone who doesn’t return your feelings is a pain like no other. Linda Ronstadt manages to capture this bittersweet sensation perfectly in “Long, Long Time.” It’s a masterclass in dynamics. She has the ability to quickly fluctuate between softer-spoken lines and louder belting. It takes a well-practiced vocalist to be able to pull off such an effortless switch – and she does it so well that she makes it seem easy. Except it’s far from simple, it’s just that Ronstad has a powerful voice, which is particularly apparent after the final refrain. She sings a series of deceptively simple seeming notes– and while they aren’t the hardest to reach, one needs major skill to pull them off without sounding uncomfortable.
#28: “Bang Bang”
Jessie J, Ariana Grande & Nicki Minaj
Trying to emulate one powerhouse is tough enough. Having to mimic three is a feat like no other. “Bang Bang” may just seem like a fun summer bop, but there are actually several layers of complex vocals. Each star brings their own unique style to the song. Between Jessie J’s commanding voice, Grande’s effortless belting, and Minaj’s signature flow, every aspect of it is tailored to show off their artistry. They could’ve easily overpowered each other– but they complement one another instead. This type of restraint isn’t easy, and goes to show how much work they’ve put into their technique. Thus, “Bang Bang” is a surprisingly elaborate hit that’s difficult to master in all its glory — but that doesn’t mean it isn’t fun to try.
#27: “Bring Me to Life”
Evanescence
You may think their ballads would be the hardest to pull off, but that distinction goes to their debut single. “Bring Me to Life” not only put Evanescence on the map, it also gave their lead singer Amy Lee the perfect opportunity to showcase her stylistic range. She starts off with a lighter sound during the verses, and then switches to a more powerful tone as soon as the chorus kicks in — without sounding strained at all. The notes come in at a difficult place, requiring the performer to slip into their head voice, while still relying on their lower register for support. While some can pull it off, no one can hit those nuances quite like Amy Lee — especially not a beginner.
#26: “Somewhere Over the Rainbow”
Judy Garland
It’s hard to believe she was only a teenager when she first started performing this iconic piece, originally written for “The Wizard of Oz.” Judy Garland wowed audiences across the globe with her performance of the hopeful yet melancholic “Over the Rainbow.” It’s a wistful number, all about how Dorothy wishes she could be anywhere other than home. The forlornness in the delivery is where the real complexity comes in— without it, the number loses most of its magic. While other musicians have taken on the challenge and done a serviceable job, none have been able to come close to Garland’s original interpretation.
#25: “Since U Been Gone”
Kelly Clarkson
After winning the premiere season of “American Idol,” Clarkson proved she was a star time and again. Her second studio album gave us this instant classic, one that has been imitated both in real life and on screen. Her anger is palpable during the track, particularly during the bridge and final hook. Her voice is filled with intensity, delivering each word with scathing fury. That coupled with her impressive upper range makes this one of the most technically demanding pop-rock bangers to reach the charts. The end is by far the most impressive part, as the singer maintains a perfectly controlled tone that never falters. It’s clear to see why this was the audition song in “Pitch Perfect”: it's perfect for testing one’s prowess.
#24: “All I Wanted”
Paramore
There are plenty of numbers by the band that highlight Hayley Williams’ exquisite vocals, but none have quite the same effect as this one. “All I Wanted” starts out as a classic Paramore tune, only for the gears to switch once the chorus starts. Williams flawlessly reaches those higher tones without it sounding forced. That’s much easier said than done for the rest of us. She belts them out like it’s second nature, effectively communicating the sentiment of the piece through her voice alone. It’s undoubtedly ambitious, especially the extended note near the end. The music temporarily cutting out puts her raw talent at the forefront, creating the perfect musical climax that not just anyone can pull off.
#23: “Stone Cold”
Demi Lovato
Already proving to be one of the best of their Disney Channel co-hort, Lovato showed just how versatile they are on this heart-wrenching single. Nailing “Stone Cold” requires a ton of impressive skill, including transitioning between octaves like it’s nothing. Lovato pours every ounce of feeling into it, creating a modern-day soul number. Plus, the fact that the instrumental is relatively stripped back means there’s nowhere to hide, making the final product a true testament to their vocal ability. While hitting the notes is hard enough, the breath control Lovato utilizes to properly support them also can’t be understated. Needless to say, an amateur would need some serious practice and then some before covering this power ballad.
#22: “Defying Gravity”
Idina Menzel & Kristin Chenoweth
“Wicked” is one of the most famous musicals of the 21st century, and for good reason. It has a litany of unforgettable numbers. One of the most beloved and complicated songs, of course, is “Defying Gravity,” which Elphaba sings (joined in spots by Glinda and the chorus) as she embraces her true power. This arc is evidenced by her dynamics and cadence gradually increasing, eventually culminating in that seemingly insurmountable riff. It’s also the final moment before the end of the first act, meaning it requires some serious acting ability to pull off. Countless people have taken on the piece, but it’s a challenge for anyone to execute well. While some have done it justice, Kristin Chenoweth and Idina Menzel’s rendition remains the blueprint.
#21: “(You Make Me Feel Like) A Natural Woman”
Aretha Franklin
Aretha Franklin’s voice was one in a million, which is why it’s so hard to perfectly nail one of her tracks. One of her most complex by far is “(You Me Me Feel Like) A Natural Woman,” a ballad expressing how a lover makes the narrator feel down to her core. Franklin effortlessly shows off her vocal range throughout, ranging from rich lower tones to gorgeous, lilting higher notes. It isn’t a song for the faint of heart, as reaching those without being pitchy is nearly impossible. The self-control needed to pull the technique off while maintaining that passionate, joyful sound is something that only experts have, making this one of the most intricate songs ever.
#20: “My All”
Mariah Carey
As soon as those sultry guitars come in, you know you’re in for a performance. Mariah Carey is one of the greatest performers we have, and on the fifth single from her album “Butterfly,” she proved it again. Carey starts off quietly on this sexy, passionate song, content to show off her melisma skills and affords us soft runs all over the place. In the second and third choruses, her voice grows stronger as she lets out those high notes. But, as any good singer should, Carey never loses control, effortlessly switching between her belt and her head voice.
#19: “My Heart Will Go On” Celine Dion
1997 didn’t just give us James Cameron’s masterpiece of a film. It also brought us one of the best songs ever written and performed with it – a song that would be sung at karaoke until the end of time. Still, it might be best to leave this one to the pros! Not only because “My Heart Will Go On” is sung by the incomparable Céline Dion, but also because it’s incredibly difficult to get just right. Dion captures the emotion of the love ballad in a way no one else can with her effortless control. Her voice grows steadily stronger as the music progresses before completely exploding at the end, attacking those high notes perfectly.
#18: “How Can I Ease the Pain”
Lisa Fischer
Here’s one of the most impossible-to-nail slow jams of all time. Seriously, we don’t know how Lisa Fischer does it. She’s a goddess. It was released in 1991 and remains one of Fischer’s biggest hits to this day. Fischer manages to stretch her notes like no other, and listening to her attain those high notes so flawlessly makes us wish she got more opportunities like this to show off her chops. “How Can I Ease the Pain” requires an incredibly strong belter to get up into that high register while still pouring passion into the words. And once Fischer lets loose on those whistle tones? Please.
#17: “Un-Break My Heart”
Toni Braxton
It’s not just the high notes that can be difficult to hit. The opening of “Un-Break My Heart” doesn’t necessarily make you feel like the song’s going to be that hard to sing. But then, you hear the incredible range of Toni Braxton. From that first verse, Braxton’s smoky vocals follow through the lower notes of her register with incredible strength and power. On top of that, her talent only shines stronger on the second verse, when she shows us all how low she can go while still maintaining precise control over her stellar runs.
#16: “Total Eclipse of the Heart”
Bonnie Tyler
The rock ballad is one of the best subgenres music has given us over the years. And “Total Eclipse of the Heart” is rock ballad execution at its finest. This song not only requires melodramatic, rock ‘n’ roll passion at a high level, but tremendous breath support as well. Bonnie Tyler stays up in that higher register for most of it, and not for nothing, those verses and choruses have a lot of words. With so much movement and not a ton of time to breathe, “Total Eclipse of the Heart” is certainly one of the most impressive ballads of its kind.
#15: “Imagine”
Ariana Grande
Oh, you wanted more whistle tones in modern pop music? Well, Ariana Grande heard you, and she delivered. It’s no secret that Grande is an expert singer, but with her hit “Imagine,” she went further than we could have imagined. The song’s chorus requires the singer to make a large vocal leap on the word “imagine,” and necessitates pinpoint precision in its notes. But all that aside, if you want to sound like Grande when you sing this song, you’ve got to try and go for those whistle tones at the end - definitely not an easy task.
#14: “Rolling in the Deep”
Adele
“Rolling in the Deep'' was the song that first brought English singer Adele to international stardom, and for good reason. Written in response to a heated breakup she once had, the lyrics tell a personal story: it’s a song about a lover telling her ex that he is too foolish to see how much he could have had with her. It’s an angry, passionate tune: there are no whispers of despair in this brassy number, and only a strong singer with both low- and high-range vocal power can pull it off. Adele beautifully communicates the anger in the track without sacrificing the purity of her sound.
#13: “And I Am Telling You I’m Not Going”
Jennifer Holliday
When Jennifer Holliday originated the role of Effie White in “Dreamgirls” on Broadway in 1981, this number brought down the house; Holliday won a Tony Award and was set on the path to pop and R&B fame. This song takes place after a stormy scene where Effie finds out she has been thrown out of her singing group; she adamantly insists to the manager that she is staying, no matter what, because she loves him. Strong, high belting and convincing drama are essential to the musical number, which makes it effective only when sung by a very talented singer and actress. And this isn’t the only difficult song from “Dreamgirls.” “I Am Changing” definitely strains our vocal chords a bit.
#12: “Lovin’ You”
Minnie Riperton
Though she performed with Stevie Wonder and Rotary Connection, Minnie Riperton spent most of her career struggling to be noticed. She died tragically young, succumbing to cancer when she was only thirty-one years old. However, she did have one smash hit single, and this is it. “Lovin’ You” is a soothing, repetitive track, seemingly simple, but by no means easy to pull off; some of the notes are so high, they have been mistaken for bird whistles! There actually are some bird twitters in the background, but those sweet fluting notes are all Riperton, who makes them sound amazingly effortless.
#11: “Don’t Rain on My Parade”
Barbra Streisand
Notoriously difficult, “Don’t Rain on My Parade” is from the musical “Funny Girl,” which was based on the life of Fanny Brice. Barbra Streisand, who played the lead role on Broadway in 1964 and won an Oscar for her performance in the movie adaptation, makes it sound quite natural; however, the song’s tricky rhythms, frequent leaps, and consistent high energy have daunted many aspiring vocalists. Although a few professionals like Bea Arthur and Idina Menzel have covered the song, the musical wasn’t revived on Broadway for decades - possibly because of the challenge of finding someone for that dynamic leading role. That changed in 2022, however, with the revival that eventually cast Lea Michele as Fanny.
#10: “Wuthering Heights”
Kate Bush
Inspired by Emily Brontë’s tale of tempestuous romance, the song “Wuthering Heights” focuses on the part of the story where Catherine’s ghost returns to Heathcliff after their many years of anger and misunderstanding in life. The song took the world by storm in 1978, topping charts throughout the UK. Kate Bush has a style that is extremely difficult to imitate, and while her voice sounds natural and sweet in the single’s high falsetto runs, they are extremely difficult for most singers to achieve. And as if that weren’t enough, the backing track gives almost no support–as many karaoke performers have discovered, to their dismay. And, just in case you were thinking about it–no, we wouldn’t try “Running Up That Hill” either.
#9: “I Have Nothing”
Whitney Houston
“The Bodyguard,” the 1992 movie that stars Whitney Houston as a famous singer and Kevin Costner as her, well, titular bodyguard, is somewhat of a cheesy mess. But that soundtrack is definitely the silver lining. “I Have Nothing” is but one of the amazing singles that came from “The Bodyguard,” and also one of the toughest in Whitney Houston’s roster. The song requires incredible force and resonance, particularly when it hits the chorus. We don’t know about you, but we can’t imagine anyone other than Houston giving this one the passion it deserves.
#8: “Vision of Love”
Mariah Carey
It seems too far out of reach to picture a time when Mariah Carey wasn’t popping off in her whistle register. Turns out, this time was actually before 1990. The release of “Vision of Love” was actually the first time audiences would hear Carey hit those tones. And it was incredible. Still, the whistle notes are not the only thing that makes “Vision of Love” so impressive. It requires a singer with an incredible depth of range, downright insane breath control, and the ability to transition vocally without a hitch.
#7: “Listen”
Beyoncé
While this song is also technically from “Dreamgirls,” it did not appear in the original musical; it was specially written for the 2006 movie adaptation. “Listen” is sung by a character who has felt stifled and uncertain throughout, until she finally breaks out into this show-stopping number and demands that people listen to what she has to say. It is a fierce and dynamic tour de force, with big leaps, florid riffs, and long runs that require a strong, powerful voice to perform well; Beyoncé does an amazing job of keeping up the passion and volume without sacrificing any of that gorgeous flexibility.
#6: “Chandelier”
Sia
Sia has made a successful career writing songs for other singers, and originally, she intended “Chandelier” to be sung by Rihanna, with some sources also adding Beyoncé. But as she crafted the track, she realized it was one she needed to sing herself. Although it is somewhat gritty and raw, describing the effects of hard partying and addiction, “Chandelier” still requires an accomplished singer; from low, rapid mutters, to high leaps and strong held notes, it’s a wild ride. Sia’s voice blends pain and lyricism in a way that makes this song uniquely hers–and because of both her talents and her personal connection with the song, it’s doubtful whether anyone else could perform it so effectively.
#5: “Hurt”
Christina Aguilera
Christina Aguilera is one of the most prolific singers in Hollywood. Unfortunately, one of her greatest, most difficult songs to sing, is not one of her most famous. “Hurt” is a number from Aguilera’s 2006 album “Back to Basics.” It sort of got buried under the pizazz of the rest of the tracklist, which includes the likes of “Ain’t No Other Man” and “Candyman.” However, in “Hurt,” Aguilera slows things down and delivers a masterful performance with incredible range. The chorus necessitates a kind of emotion and resonance that is rare to come by.
#4: “All By Myself”
Celine Dion
Céline Dion has won acclaim for many dramatic and challenging songs, but this one stretched even her impressive powers: a quiet, introspective beginning leads to a swelling key change, and finally, a passionate outpouring of sorrow that demands strong, sustained high notes relentlessly. As with all deeply emotional pieces, the singer must be expressive without losing the beauty of the sound; not an easy task at any time, but particularly hard when you are belting very high and very loud in front of a large audience. “All by Myself” has become one of Dion’s most iconic songs - despite being a cover of an Eric Carmen original - and there’s a good reason you rarely hear someone else attempt it.
#3: “Love on Top”
Beyoncé
It’s time to talk about key changes! Beyoncé’s 2011 hit “Love On Top” is one of the pop diva’s most fun songs. From the outset, it doesn’t seem like it will be particularly difficult to sing. Not more difficult than any other Beyoncé song, anyway. But, by the end, we’ve found ourselves with so many key changes, we don’t even know how to begin counting them off. As Beyoncé’s voice keeps getting higher and higher, our jaws keep dropping lower to the ground. It’s insanely impressive how high up she can get, never mind the absolute clarity with which she does!
#2: “I Will Always Love You”
Whitney Houston
Whitney Houston had a voice unlike anyone else’s. She won fame singing not just original songs, but covers, and classics that had been done a hundred times, like “The Star-Spangled Banner.” However, this tune–originally written and recorded by Dolly Parton–is probably Houston’s most famous. The stamina and versatility required to sing “I Will Always Love You” are just the beginning. Because of the single’s wide range of notes and dynamics, the singer must be able to adopt many different vocal characters, from sweetly quiet to powerfully low and finally to triumphantly (but gorgeously) high. Or, at least, that is the way Houston sang it–and nearly everyone else has been too daunted to tackle it since!
#1: “Emotions”
Mariah Carey
Many of our audience members probably guessed that a vocal performance by Mariah Carey was coming, they just didn’t know which. Like Whitney Houston, Carey seems to be capable of performing vocal feats that are beyond those of regular mortals, and this one is a perfect example. “Emotions” is an upbeat R&B, post-disco hit with no room for rest–one cannot help but wonder at Carey’s constant high-energy belting, seemingly effortless runs, and of course, those incredible high notes soaring up into the stratosphere. A good operatic soprano could probably hit them, but rarely are notes so high heard with such pure and beautiful clarity. It all adds up to make this a fitting choice for our top most difficult song.
Which of these songs do you still try to sing in the shower? Tell us in the comments.
“Run To You”
Whitney Houston
Music Video: https://www.youtube.com/watch?v=h9rCobRl-ng
