The purpose of this essey is to investigate whether and if so how women's separatist music rooms can create an extended acting space for female musicians. To do this, I have conducted an interview study of organizers and former music participants at the organizations Popkollo and Femtastic. The analytical discussions is held with the theoretical approach of Judith Butler's "heterosexual matrix" and Cecilia Björck's interpretation of Michel Foucault's "The gender disciplinary gaze". The results show that the main reason to choose women's separatist music room has been a longing to ”take place” and to ”get to the be yourself". Furthermore, the results show that the room enabled a liberation from outsiders ideal images of the "mild" and "fragile" female musician, whereupon more expressive positions was made possible. The study also reveald a dilemma in a balance to be liberated, but at the same time adapt to popular music gender-coded ideals. Furthermore the results show that in this context it is sometimes perceived as disfavouring to be coded as both a female artist and a feminist. This is because of the tendency to be seen and treated as a homogenous group with a common political agenda. Finally, I note, however, that women's separatist music room at least can create possibilities for an extended acting space as the informants has expressed a development both personally and musically.