The representation of women in popular music has long been a subject of debate, especially in genres where female artists simultaneously challenge and reinforce gender norms. While Bikutsi, a genre rooted in the cultural traditions of the Beti people of Cameroon, has historically been a space for female expression and empowerment, it has also been criticised for perpetuating the objectification and sexualization of women. Female artists navigate a complex terrain where women are depicted in multiple and often contradictory ways, ranging from empowered and assertive figures to objectified and commodified subjects. Through an analysis of the lyrics and performances of prominent female Bikutsi artists such as K-Tino, Lady Ponce, and Mani Bella, this paper explores the tensions between empowerment and objectification. These artists challenge patriarchal norms by asserting female desire, financial independence and agency, while on the other hand, they often reproduce hyper sexualized imagery and lyrics that align with male fantasies, raising questions about whether their artistic choices reinforce or subvert traditional gender norms. Drawing on objectification theory, postfeminist perspectives and Africana Womanism, this paper argues that female Bikutsi artists navigate a complex space where empowerment and objectification are not mutually exclusive but deeply intertwined. This study highlights the need for a better understanding of how women in popular music negotiate agency within commercial and cultural constraints.