Online Reporter
ELSEWHERE in today’s edition, long-serving songstress, Jean Masters says she firmly believes that female creatives need to work twice as hard as their male counterparts to put food on the table.
She also claims they often fall victim to sexual and economic abuse at the hands of promoters who renege on their promises.
Masters was sharing the challenges that come with being a female band leader, where one needs to work twice as hard as their male counterparts.
Having been in music for over 15 years, Masters revealed that there are times when she has felt like giving up because promoters are “always the same”.
In our ever-evolving music industry, women musicians continue to fight for recognition, respect, and relevance in a space still largely dominated by men.
Despite flashes of brilliance from talented female artists, only the likes of Ammara Brown, Cindy Munyavi, Feli Nandi, Tamy Moyo, and Gemma Griffiths have managed to sustain long-term impact and, to some extent, comparable to their male counterparts.
That female musicians’ struggle is not a reflection of lack of talent, but rather a consequence of deep-rooted structural, cultural, and industry barriers that continue to suppress female artistic longevity.
At face value, it may appear that the Zimbabwean music industry is becoming more inclusive. More women are recording music, headlining shows, and commanding social media attention. But beneath the surface lies a different story — one of double standards, limited opportunities, and social pressures that make it harder for women to thrive beyond their initial breakthrough. One major challenge is patriarchal industry gatekeeping. The entertainment sector remains largely controlled by men — from producers, promoters, and DJs to venue owners and record label executives.
These power dynamics often create exploitative or dismissive environments for women trying to build their careers. It’s not uncommon to hear stories of female artists being sidelined for refusing sexual advances or being judged more on their looks than on their craft. This toxic system makes it extremely difficult for talented women to gain the same professional respect and opportunities afforded to men.
Then there is the issue of unequal media representation. Many female musicians receive more coverage for their fashion choices, romantic relationships, or social media controversies than for their artistic output.
This constant objectification undermines their credibility and shifts the public focus away from their music. In contrast, male musicians can release mediocre songs and still be hailed as “legends in the making.” The bar is set far higher for women, forcing them to work twice as hard for half the recognition. Another factor limiting longevity is societal expectations. In Zimbabwe’s largely conservative culture, women are often expected to prioritise family responsibilities over careers.
The pressure to balance professional ambition with social expectations of “decency” or “respectability” creates an emotional and creative burden that few can withstand long-term.
Zimbabwean female musicians now need a collective strategy and professional resilience. They must invest in strong branding, consistent output, and collaborations that cut across genres and markets. Building alliances with each other — instead of competing for limited attention — can create a more united female front capable of influencing industry dynamics.
And it is pleasing to note that they are working on a project that does exactly that this month in Harare.
Mathew Masinge