The singer drew attention on Tuesday, September 8, 2026, after performing a song dedicated to Wiper leader Kalonzo Musyoka at an outdoor event.
Footage from the performance showed Jane singing as Kalonzo joined her in an energetic dance.
Supporters at the venue sang along, turning the performance into one of the event’s memorable moments.
The video was later shared on social media and quickly attracted attention, with Kenyans discussing both the performance and Jane’s decision to revisit one of her father’s songs.
A familiar sound with a new voice
The song, “Muthoniwa”, was presented as a remix of a song associated with John DeMathew.
Kalonzo acknowledged the performance in a post shared on X, thanking Jane for the dedication and describing her rendition as a continuation of her father’s musical legacy.
“This special rendition is a remix of her father’s iconic song, carrying forward a musical legacy that has touched generations,” Kalonzo said.
For Jane, however, the moment also reflects a longer musical journey.
She has previously released music connected to her father’s catalogue. In 2021, she released “Niwetukirie”, with her mother Sarafina DeMathew publicly praising her musical ability and describing her as talented like her father.
Jane has also been associated with “Ngoro Gitina Part 3”, a continuation of one of John DeMathew’s recognised songs.
Living with a famous surname
John DeMathew was one of Kenya’s best-known Kikuyu Benga musicians. He began his professional music career in the 1980s and became known for songs including “My Dear Nduku” and “Njata Yakwa”.
His music often blended entertainment with social commentary and cultural storytelling.
He died in a road accident in August 2019, leaving behind a catalogue that continues to be remembered by his audience.
That history gives Jane both an advantage and a challenge.
Her surname immediately connects her to an established musical identity. At the same time, each performance gives her an opportunity to demonstrate what she can bring beyond simply being John DeMathew’s daughter.
Jane’s own musical identity
The Kalonzo performance offered another example of how Jane is using familiar material while placing herself at the centre of the performance.
The online response was mixed. Some viewers praised the collaboration, while others used the footage to debate Kalonzo’s political prospects.
That reaction also shows how music can become part of wider public conversations, particularly when performances take place around political figures.
For Jane, the bigger story may be her gradual transition from being recognised primarily through her father to being recognised as an artist in her own right.
Her performances continue to carry elements of the sound associated with John DeMathew, but her growing visibility gives her room to develop a distinct voice.
The September 8 performance therefore sits at an interesting point in Jane’s career: rooted in a celebrated musical past, but increasingly focused on defining what comes next.
