Pioneer Igbo female popular musicians presented respectable, resilient and dependable images of women in their music. These representations conformed to the general concept of Igbo women’s femininity. In contrast, the musical content of contemporary Igbo female popular musicians, is pervaded by sexual objectification and demeaning images of women. This study seeks to understand which of the two stances is more effective in the quest for gender justice in an environment that is patriarchal and in which the concept of gender equality is not widely accepted. Employing the analytical and interpretative approach and focusing on lyrics, costume, dance and dramatic movements, this study examines selected videos and records of Igbo female popular musicians from inception to present. It adopts the feminist muted group theory which affirms that the asymmetrical gender relations impose on women, men’s system of communication. It argues that contemporary Igbo female musicians are compelled to portray women negatively by the dictates of their male producers and marketers. This disposition does not serve the purposes of gender equity. This paper provides new insights into negative portrayal of women by female musicians consequently, it advances knowledge in ethnomusicology, African studies and the Humanities in general.