Can You Sing Phil Collins? Their Vocal Range Is E3 to E4
Across the 1 Phil Collins song with researched vocal ranges in the HumMatch catalog, the sung notes run from E3 to E4, about 12 semitones (roughly 1 octave). Individual songs cover smaller slices of that range. Hum for 30 seconds and HumMatch ranks every Phil Collins song by how singable it is for your actual voice.
The best Phil Collins song for you depends on your Vocal ID, range comfort, and confidence level.
Reported range vs. what we have researched
Phil Collins is widely described as a tenor. Across the 1 Phil Collins song HumMatch has researched note by note, the sung range spans E3 to E4, about 1 octaves.
Reported figures: Wikipedia tenor list; The Range Planet. Researched figures: HumMatch note-by-note song research, sourced per song.
Singing Phil Collins: the Vocal Profile
Phil Collins arrives with the narrowest measured profile in our entire catalog, and explaining it teaches more about our data than any other artist on this page. His extracted profile reads E3 to E4, 12 semitones, with a tessitura of F#3 to D4 and a median of A3, numbers extracted from our one researched song, Groovy Kind of Love, measured at exactly E3 to E4 and rated 36, the gentlest famous song in this half of the database. The reported record files him as a tenor, and the estimated tier shows the fuller working range, hit after hit in A2 to A4 lanes. Read our profile as a measured core, the octave where Collins actually lives, not a claim about his edges.
That measured core explains a fit table that looks like a misprint: 73 of 86 ranged songs fit baritone as written, 73 fit tenor as written, 72 fit alto as written, with mezzo and soprano cleaning up an octave up. This is the single most universally fitting catalog on this page, and it is not an accident. The public record: the Genesis drummer who inherited lead vocals in 1975 when Peter Gabriel left, then ran the 1980s as pop's most inescapable everyman, Face Value and the gated reverb thunder of In the Air Tonight, No Jacket Required, the Tarzan songbook. A drummer writes melodies a drummer can sing while playing, compact, rhythmic, mid voiced, and forty years of radio proves the approach.
Our estimates give the hits more spread than the album shelf: Against All Odds at F#2 to G#4 rated 78 and You Can't Hurry Love at 81 top the table, with In the Air Tonight, Sussudio and Another Day in Paradise clustered at 72 in two octave lanes. Those wider estimates capture the ballad climaxes, Against All Odds's famous take a look at me now lift is a genuine G#4 event after verses of restraint, and the low floors likely include his stacked backing octaves. Seventy three of 86 rated songs still sit under 55, the friendliest famous ratio on this page.
What the catalog demands: emotional pacing above all, the Collins ballad architecture is long restraint followed by one earned explosion, and singers who spend early lose the moment that matters; a drummer's time, especially on the Motown bounce material; and a plain, honest mid register tone, slightly nasal, conversational, with the rasp saved for climaxes. In the Air Tonight adds the specific discipline of near stillness for three minutes, then total commitment at the fill everyone in the room is waiting to air drum.
Voice type math, kept short because the fits are so generous. Tenors and baritones: sing the shelf as written, 73 fits each, and split the difference on the ballads, tenors at pitch, baritones minus 2 with the G#4 events in mix. Basses: minus 3 to 4 catalog wide, the conversational registers translate down gracefully. Altos: 72 as written fits is remarkable, take them at pitch with the low phrases warmed, and lift the ballads 2 to 3. Mezzos and sopranos: the octave up route covers 73 songs each per our table, or sing at written pitch where the material crosses your lower band; Against All Odds up 3 is a legitimate torch reading. Everyone: the measured core says the heart of every Collins song sits within one octave, so pick any key that puts E3 to E4 in your comfort and the rest follows.
Karaoke standing is elite: In the Air Tonight is a room unifier with a built in percussion moment that buys you goodwill no note could, Against All Odds is the torch dare, and Groovy Kind of Love, researched at 36, is the softest verified landing in this entire batch of profiles, the song to pick when you want a guaranteed clean night. Take a look at the data now: almost everyone can sing Phil, which was always the point of Phil.
Written from the 1 song with researched vocal ranges on file, spanning E3 to E4. July 2026.
Derived from the 1 Phil Collins song with researched vocal ranges in the HumMatch catalog: the lowest and highest sung notes across those songs, in their original keys.
Not sure whether E3 or E4 is in your voice? Hum a note and the note finder names it, or watch your pitch live with the pitch detector. Both are free and need no account.
Voice and range notes
HumMatch uses song-level range and difficulty data instead of assuming every Phil Collins song fits one voice type.
What voice type is Phil Collins?
Phil Collins songs often fit best when the melody sits near your comfortable range and the chorus does not force strain.
Hardest and easiest Phil Collins songs to sing
Ranked by how high the top note climbs and how much range each song covers, using the ranges on file for Phil Collins songs. Estimated ranges are marked; treat those rankings as provisional.
Hardest to sing
Every Phil Collins song on HumMatch (86)
Grouped by how each vocal range was sourced: researched note by note first, then estimated ranges (marked), then songs whose range research is still in the queue. Every title links to that song's full fit page.
Researched note by note (1)
| Song | Range | Difficulty |
|---|---|---|
| Groovy Kind of Love | E3 to E4 | easier |
Estimated ranges (85)
| Song | Range | Difficulty |
|---|---|---|
| Both Sides of the Story | G#2 to G#4estimated | higher-risk |
| You’ll Be in My Heart | A2 to A4estimated | higher-risk |
| Something Happened on the Way to Heaven | A2 to A4estimated | higher-risk |
| I Wish It Would Rain Down | G#2 to G#4estimated | higher-risk |
| Another Day in Paradise | A2 to A4estimated | higher-risk |
| You Can’t Hurry Love | G2 to A#4estimated | higher-risk |
| One More Night | F#2 to G#4estimated | higher-risk |
| A Groovy Kind of Love | G#2 to G#4estimated | higher-risk |
| Sussudio | A#2 to A#4estimated | higher-risk |
| Two Hearts | A2 to A4estimated | higher-risk |
| Against All Odds | F#2 to G#4estimated | higher-risk |
| Against All Odds (Take a Look at Me Now) | G#2 to G#4estimated | higher-risk |
| In the Air Tonight | G#2 to G#4estimated | higher-risk |
| Colours | F#3 to D4estimated | easier |
| Ain’t That Peculiar | F#3 to D4estimated | easier |
| Aikamies | F#3 to D4estimated | easier |
| A Ring from Robert | F#3 to D4estimated | easier |
| Always (Big Band) | F#3 to D4estimated | easier |
| …And So to F… | F#3 to D4estimated | easier |
| Come With Me | F#3 to D4estimated | easier |
| Different | F#3 to D4estimated | easier |
| After the Ordeal (Arr. M. L. Muscio for Organ & Flute) | F#3 to D4estimated | easier |
| Crystal Clear | F#3 to D4estimated | easier |
| Doesn’t Anybody Stay Together Anymore | F#3 to D4estimated | easier |
| Both Sides of the Demo | F#3 to D4estimated | easier |
| Both Sides of the Story [radio edit] | F#3 to D4estimated | easier |
| Bear Party | F#3 to D4estimated | easier |
| Argument | F#3 to D4estimated | easier |
| Cat and Duck | F#3 to D4estimated | easier |
| (Love Is Like a) Heatwave | F#3 to D4estimated | easier |
| Dancing in the Street | F#3 to D4estimated | easier |
| Behind the Lines | F#3 to D4estimated | easier |
| Contre toute attente (Against All Odds) | F#3 to D4estimated | easier |
| Can’t Find My Way | F#3 to D4estimated | easier |
| Don’t Let Him Steal Your Heart Away | F#3 to D4estimated | easier |
| Bass and Drums Groove | F#3 to D4estimated | easier |
| Can’t Stop Loving You | F#3 to D4estimated | easier |
| Center of the Circle | F#3 to D4estimated | easier |
| Cat | F#3 to D4estimated | easier |
| Caribou / Three Brothers | F#3 to D4estimated | easier |
| Brother Bear: On My Way (arr. for orchestra) | F#3 to D4estimated | easier |
| Always | F#3 to D4estimated | easier |
| Arrival | F#3 to D4estimated | easier |
| Cat in Tree | F#3 to D4estimated | easier |
| Bird and Peter | F#3 to D4estimated | easier |
| Birdland | F#3 to D4estimated | easier |
| Burn Down the Mission | F#3 to D4estimated | easier |
| Do You Remember | F#3 to D4estimated | easier |
| Around the World in 80 Presets | F#3 to D4estimated | easier |
| Cat Dance | F#3 to D4estimated | easier |
| Auf diesen Tag hab’ ich gewartet | F#3 to D4estimated | easier |
| Dances With Wolves | F#3 to D4estimated | easier |
| Ain’t Too Proud to Beg | F#3 to D4estimated | easier |
| Dance Into the Light | F#3 to D4estimated | easier |
| Bärenbrüder: Kein Weg zurück | F#3 to D4estimated | easier |
| Bear Fight | F#3 to D4estimated | easier |
| All of My Life | F#3 to D4estimated | easier |
| Both Side of the Story | F#3 to D4estimated | easier |
| Bienvenue | F#3 to D4estimated | easier |
| Awakes as a Bear, Part 2 | F#3 to D4estimated | easier |
| Both Sides of the Demo (Both Sides of the Story) | F#3 to D4estimated | easier |
| Bienvenido | F#3 to D4estimated | easier |
| Can’t Turn Back the Years | F#3 to D4estimated | easier |
| Aucune issue (No Way Out) | F#3 to D4estimated | easier |
| Awakes as a Bear | F#3 to D4estimated | easier |
| Band Introductions | F#3 to D4estimated | easier |
| Come With Me (Lullaby) | F#3 to D4estimated | easier |
| Dir gehört mein Herz | F#3 to D4estimated | easier |
| Auf einmal | F#3 to D4estimated | easier |
| Big Noise | F#3 to D4estimated | easier |
| All My Friends Are Here | F#3 to D4estimated | easier |
| Do You Know, Do You Care? | F#3 to D4estimated | easier |
| Another Time | F#3 to D4estimated | easier |
| Denahi Finds the Cave | F#3 to D4estimated | easier |
| Blame It on the Sun | F#3 to D4estimated | easier |
| Al di fuori di me | F#3 to D4estimated | easier |
| A Race Apart | F#3 to D4estimated | easier |
| Against All Odds (Theme From “Against All Odds”) | F#3 to D4estimated | easier |
| Do Nothin’ Till You Hear From Me | F#3 to D4estimated | easier |
| Capture of Wolf | F#3 to D4estimated | easier |
| Around the World in 80 Presets (End Credits) | F#3 to D4estimated | easier |
| Desbaratando el campamento | F#3 to D4estimated | easier |
| Deep Green | F#3 to D4estimated | easier |
| Do I Love You | F#3 to D4estimated | easier |
| Don’t Call Me Ashley | F#3 to D4estimated | easier |
Is E3 to E4 your range too?
412 songs in the HumMatch catalog fit entirely inside a E3-E4 range.
If you can sing Phil Collins, try these
Each of these artists' known ranges overlaps most of Phil Collins's range (E3 to E4), so songs that fit one voice tend to fit the others. Overlap is measured in shared semitones, estimated ranges are marked.
Group-friendly picks
Compare your range to Phil Collins's in 30 seconds
Three guided hums, about 30 seconds: you get your measured low note, high note, and voice type, and every Phil Collins song ranked by how singable it is for your actual voice.
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Phil Collins FAQ
Across the 1 Phil Collins song with researched vocal ranges in the HumMatch catalog, the sung notes run from E3 to E4, about 12 semitones (roughly 1 octave). Individual songs cover smaller slices of that range.
Phil Collins is widely described as a tenor (Wikipedia tenor list; The Range Planet). We have researched those songs note by note, but the range they cover does not sit cleanly inside a single voice-type band, so we report the description without asserting it as fact.
Phil Collins songs often fit best when the melody sits near your comfortable range and the chorus does not force strain.
Ranked by top-note extremity and range span, You Can’t Hurry Love is the most demanding Phil Collins song on HumMatch: it is estimated to run G2 to A#4.
Take HumMatch's free 30-second vocal range test to get your measured low note, high note, and voice type. Every Phil Collins song is then ranked by how singable it is for your actual voice.