Iranian women outside Iran certainly are active in music performance. I've just come across another all-female ensemble playing tradional instruments. Yad-e Doust Ensemble has a more traditional sound than the innovative Atine. The bits I read about them refer to their first tour of Europe, so infer that they were still based in Iran.
https://www.youtube.com/watch?v=h9pnj_TJAIY&t=1264s

The various youtube videos I've watched which show Iranian women singing and/or playing instruments all have a noticeable albeit minority of thumbs down responses. I wonder if these are mainly from people who don't approve of women being on stage or from people who disapprove or Iranians in general.

Google translate from Dutch:
The young, female Yad-e Doust Ensemble honors the great Iranian master who passed away two years ago: Mohammad-Reza Lotfi. His personality and music are a lasting source of inspiration for the new generations who keep Iranian classical music traditions alive. Singer Haleh Sayfizadeh is accompanied by Negar Kharkan on kemenche, Noushin Pasdar on oud, Afarinsadat Nazarijou on qanoen and Nazanin Pedarsani on tombak.

In addition to compositions by Lotfi, they bring old and recent compositions by anonymous and well-known masters, complemented by improvisation according to the Radif. This guarantees a varied instrumental and vocal-instrumental program, in which ensemble pieces are alternated with parts in which the instruments speak separately.

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Yad-e Doust is a new ensemble of five Iranian women who share a passion for classical music. During their first tour of Europe, they pay tribute to the late master Mohammad-Reza Lotfi (deceased in May 2014). He was a great source of inspiration for all members of the ensemble and for Iranian classical music in general.
They have selected an attractive repertoire consisting of works by Lotfi and other Iranian composers such as Mahjoobi, Kiani-Nejad, and Shahnaz, supplemented with older anonymous pieces and improvised parts. Improvisation and composition are both based on the classic canonical repertoire called Radif, a historical collection of melodies and melody types. Both in metrical parts and in parts without a meter, and in vocal as well as instrumental parts, the content and form of the poetry give structure to the melodic material.