LeRoi Moore, 1961 - 2008

Dave Matthews Band saxophonist LeRoi Moore died unexpectedly Tuesday from complications following a ATV accident earlier this summer.

Moore was injured on June 30, on his farm outside Charlottesville, Virginia. He broke several ribs and punctured a lung, and was hospitalized at University of Virginia for several days.

Moore was released several days later, but he was re-hospitalized in mid-July for complications related to the accident.

Jeff Coffin, the saxophonist from Béla Fleck and the Flecktones, stood in for Moore during this summer’s tour dates, including the band’s two concerts at Verizon Wireless Music Center in July. On Tuesday night, the official Dave Matthews Band Web site reported that Moore died. The following statement was released on the band’s Web site:

“We are deeply saddened that LeRoi Moore, saxophonist and founding member of Dave Matthews Band, died unexpectedly Tuesday afternoon, August 19, 2008, at Hollywood Presbyterian Medical Center in Los Angeles from sudden complications stemming from his June ATV accident on his farm near Charlottesville, Virginia. LeRoi had recently returned to his Los Angeles home to begin an intensive physical rehabilitation program.”

Moore was born Gary Lee Moore on Sept. 7, 1961. He was an accomplished jazz musician in Charlottesville, when he was picked by Dave Matthews to record some songs he had written and wished to flesh out with larger instrumentation in 1991.

He played bass, baritone, tenor, alto, and soprano saxophones, as well as the flute, bass clarinet and wooden penny whistle.

In addition to DMB, Moore performed on Code Magenta’s self-titled album, and on Soko’s album In November Sunlight.

Despite seven and a half hours of music, the Verizon Wireless Music Center crowd seemed just warmed up and not worn down as headliner and Projekt Revolution creators Linkin Park took the stage Sunday night.

And the band didn’t disappoint as Linkin Park played all 16 of its singles from its three studio albums – 2000’s Hybrid Theory, 2003’s Meteora and 2007’s Minutes to Midnight.

Both Hybrid Theory and Meteora intertwined the nu metal and rap rock sound with influences and elements from hip-hop, alternative rock and electronica. But with Minutes to Midnight, the band experimented with their established sound and drew influences from a wider and more varied range of genres and styles.

The concert started off strong as fellow Projekt Revolution artist Street Drum Corps played a Blue Man Group-ish introduction to Linkin Park’s debut single, “One Step Closer.” “Lying from You,” “Somewhere I Belong,” “No More Sorrow” and “Papercut” followed.

Before and after “Points of Authority,” co-singer Mike Shinoda rapped – “Petrified” as the intro and “There They Go” as the outro.

The concert hit a lull as the band’s quieter songs were played one after another. “Leave Out All the Rest” was followed by the group’s mega-hit “Numb,” and the New Orleans/Hurricane Katrina themed “The Little Things Give You Away.”

“Hope decays, generations disappear, washed away as a nation simply stares. Don’t want to reach for me do you? I mean nothing to you. The little things give you away. But there will be no mistaking, the levees are breaking. All you’ve ever wanted was someone to truly look up to you and six feet under water, I do,” lead singer Chester Bennington sang.

“Breaking the Habit” broke up the slow tempo but it was short lived as “Shadow of the Day” followed. But the crowd was in for a surprise as Shinoda rapped the first verse to “Hands Held High” before Chris Cornell came onstage to help co-lead singer Chester Bennington sing 2001’s “Crawling.”

“Does he have the best voice in rock and roll or what?” Bennington remarked after the performance.

Linkin Park closed its set with “In the End,” the group’s biggest hit along with “Numb.” If the first encore of 2007’s “What I’ve Done” and 2003’s “Faint” – both No. 1 singles – weren’t enough, the Street
Drum Corp returned to the stage for the second encore to accompany Linkin Park’s Rob Bourdona’s drum solo before “Bleed it Out” concluded their performance.

Opening for Linkin Park was musical journeyman Chris Cornell.

“So I’m here on Projekt Revolution and I only get an hour, so I’m trying to cover as much as I can,” he told the audience.

Cornell’s set included solo hits and classics from his three former super groups – Soundgarden, Audioslave and Temple of the Dog.

Intertwining “Scream” and “Watch Out” from his upcoming third solo album, Scream (due out in September), Cornell sang Soundgarden’s “Outshined,” “Spoonman,” “Burden in My Hand,” “Black Hole Sun” and “Rusty Cage”; Audioslave’s “Cochise,” “Like a Stone” and “Be Yourself, Show Me How to Live”; and Temple of Dog’s “Hunger Strike.”

Other Projekt Revolution artists include The Bravery, Ashes Divide, Street Drum Corp, Atreyu, 10 Years, Hawtorne Heights and Armor for Sleep. Rapper Busta Rhymes was slated to perform but dropped off the tour before its Noblesville stop Sunday.

Linkin Park

Linkin Park’s setlist: One Step Closer (with Street Drum Corp), Lying From You, Somewhere I Belong, No More Sorrow, Papercut, Points Of Authority (with Mike Shinoda rapping “Petrified” as the intro and “There They Go” as the outro), Wake, Given Up, From The Inside, Leave Out All The Rest, Numb, The Little Things Give You Away, Breaking The Habit, Shadow Of The Day, Hands Held High (one verse), Crawling (with Chris Cornell), In The End, What I’ve Done, Faint and Bleed It Out.

Chris Cornell’s setlist: Cochise, No Such Thing, Outshined, Spoonman, Hunger Strike, Watch Out, Like a Stone, Be Yourself, Show Me How to Live, Burden in My Hand, Scream, Black Hole Sun and Rusty Cage.

The Bravery’s setlist: Swollen Summer, No Brakes, Nelieve, This is Not the End, Time Won’t Let Me Go, An Honest Mistake, Every Word From Your Mouth is a Knife in my Ear, Fearless and Unconditional.

The sold-out crowd, 25,000-plus strong, arrived early for Southern rock legends Lynyrd Skynyrd, which was good because the show started 45 minutes early.

Among the great American rock bands, Skynyrd is also one of rock’s great tragedies. Three days after the 1977 release of “Street Survivors” – the album that solidified Skynyrd’s standing as a marketable and creative powerhouse – the band’s plane crashed in Mississippi en route to a show in Baton Rouge. Both pilots and four members of the band died, including vocalist and primary songwriter Ronnie Van Zant and guitarist Steve Gaines.

Now only two original members (keyboard player Billy Powell and guitarist Gary Rossington) lead the rejuvenated band, which includes Van Zant’s younger brother Johnny singing the songs Ronnie and company wrote decades ago.

Sticking to the classics, Skynyrd played “What’s Your Name,” “You Got That Right,” “Gimme Three Steps” and “Call Me the Breeze.” Video images of American troops served as the backdrop to “Simple Man.”

“I’ve been waiting all night to say this, ‘I do believe it’s time for the south to rise again baby,’” Van Zant said before “Sweet Home Alabama” was played.

As the band exited the stage to the deafening applause, everyone in attendance knew what the encore was going to be, especially after a golden eagle statue was placed over a Confederate flag on the piano.

The crowd responded even louder, which caused the speakers to be turned up so the audience could better hear “Freebird,” As Van Zant sang the opening lyrics – “If I leave here tomorrow would you still remember me?” – names and photos from Skynyrd’s past flashed on the screen behind him in a touching remembrance of those no longer with the band.

About an hour later, those same fans roared with applause as Kid Rock sampled “Sweet Home Alabama” and Warren Zevon’s “Werewolves of London” on the harmony- and acoustic guitar-laden “All Summer Long.”

Rock took the baton from Skynyrd and continued the evening of rock ’n roll laced with other genres. Saturday’s set list was stacked with staples from Rock’s 1998 breakthrough album, “Devil Without a Cause,” several tracks from 2007’s “Rock N Roll Jesus,” and a mixture of hits from the three albums in between.

Rock and his Twisted Brown Trucker band kicked things off with the title track to “Rock N Roll Jesus.” “Testify, it’s a rock revival!” Rock sang.

He continued with 2001’s hit about never meeting a person like him and intertwined that with 2000’s “American Bad Ass.”

It was like that all night, with Rock and his band slashing through rap, country, gospel and rock.
Showing just how far his style has evolved since his rapping debut, Rock’s gospel “Amen” centered on how hard life is in American. To lighten the song’s heavy message, Rock stopped the music and instructed all in attendance to high-five someone they didn’t know, just as he did by running around the stage and greeting as many audience members as he could.

Rock’s second career single, “Cowboy” became an interesting mess. He began with a cover of the chorus of “Midnight Runner” and detoured into a cover of the “Dukes of Hazzard” theme midway though the song, only to swing back into a fully amped version of “Cowboy.”

The set also included “Only God Knows Why,” “Devil Without a Cause” and “Picture.” Rock’s debut single, “Bawitdaba,” ended the night that left the crowd screaming as loud as they had hours earlier for Skynyrd.

Looks can be deceiving and sounds can be misleading. This was especially true at the inaugural Rockstar Energy Mayhem Festival at Verizon Wireless Music Center Wednesday.

No polo shirts were worn by the crowd – black was the color of choice for most (if they wore a shirt). Spiked or dyed hair and tattoos were the “it” accessory instead of expensive wristwatches, shoes or handbags. And none of the musicians on stage looked like they shaved that day, or for several days.

But no matter how it looks to the outside world, inside Verizon it didn’t matter what one was wearing, or not wearing, as long as the music invoked some emotion and your hand made the horns sign and was thrown into the air as a symbol of applause.

The hardcore sound could be construed as turbulent, overly loud noise with incomprehensible screaming to untrained metal ears. Three stages, which all had Grammy nominated or award-winners playing on them, played host to a metal buffet of 14 bands.

The three stages also contained four bands – Machine Head, Mastodon, The Red Chord and Slipknot – considered pioneers in the New Wave of American Heavy Metal, a mixture of hardcore punk, trash metal, groove metal, metalcore, death metal and melodic metal.

On the Jagermeister side stage, Machine Head headlined. The four-person band, which features two guitars, a bass guitar and a double-drum, enthralled the audience as the last side stage act before the three main stage artists played with their intense, aggressive and inescapable sound. The quartet’s 2007 single “Halo,” which features several guitar solos, was a definite crowd pleaser.

The interaction with the crowd overflowed for several artists during Wednesday’s Mayhem Festival. Both 36 Crazyfists and Airbourne’s lead singers got up close and personal with their fans. 36 Crazyfists Brock Lindow jumped from the stage over the security pit to crowd surf and with security guards trying to catch up, Airbourne’s Joel O’Keeffe (pictured above) ran around the metal barriers to perform a guitar solo in the middle of a mosh pit.

Of all the groups, Disturbed possess the most radio singles with 15. The Chicago-based band is also considered the least metal of the Mayhem artists – most, including Disturbed, would classify their genre as hard rock and not heavy metal due to their more melodic songs.

During their hour-long set, Disturbed packed a musical punch mixing four songs off 2008’s Indestructible with classic singles – “Perfect Insanity,” “Liberate,” “Just Stop,” “Voices,” “Indestructible,” “Prayer,” “Stupify,” “Ten Thousand Fists,” “The Game,” “Inside the Fire” and “Stricken.” The lone non-radio hit included in the band’s set was “Criminal.”

“Evidently, the entire state of Indiana is infected with the sickness,” lead singer David Draiman told the audience.

Ending with “Down with the Sickness,” Disturbed concluded its stage time with one of its heavier, more aggressive tracks. Continuing the heavier sound was Mayhem co-headliner Slipknot, known for its attention-grabbing image – the members wear matching uniform jumpsuits and homemade masks and aside from their real names, are referred to by numbers zero through eight.

Other Mayhem Festival artists included Dead Broke, Walls of Jericho, Five Finger Death Punch, Suicide Silence, Black Tide, Underoath and Dragonforce.

While both Sugarland and its opener Joe Nichols played country music – filled with honky tonk, mainstream rockers and emotional ballads – they reached the Indiana State Fair audience in different ways Tuesday night.

Nichols’ quirky onstage banter was based on humor, as the duo comprising Sugarland used full throttle energy and enthusiasm to prove why they were the 2005 American Music Awards Breakthrough Favorite New Artist and 2006 Academy of Country Music Awards Top New Vocal Duet/Group.

Sugarland, composed of singer/songwriters Jennifer Nettles (lead singer) and Kristian Bush (background vocals, mandolin and acoustic guitar), opened their show with their debut single “Baby Girl.”

Throughout the concert, the two mixed songs and hits from all three of their records – Twice the Speed of Life (2004), Enjoy the Ride (2006) and Love on the Inside (2008) – including all three of the group’s No. 1 hits – “Want To,” “Settlin,’” and their most recent single, “All I Want to Do.”

The crowd was already hyped and some were hoarse from singing along when “Everyday America” started. The song included a call-and-response from the crowd and an opportunity for them to take over lead vocals when the microphones were pointed at them during the chorus.

“Who Says You Can’t Go Home,” a collaboration Nettles did with Bon Jovi on its first country album, contained pictures of Indiana and Indianapolis appearing on the giant screen behind Sugarland, with the loudest ovation coming when shots appeared of Lucas Oil Stadium and the Indianapolis Colts.

When new songs were played off of Love on the Inside, which was released in February, Nettles provided a little insight into the songs before they began.

“Ever have one of those days once and awhile where you have to let problems roll of your back?” she said of “It Happens,” an up-tempo way to look at a world that’s out of your control.

Sugarland also provided a few surprises to its fans Tuesday night.

The two autographed a guitar before Bush ran out into the crowd and spotted a young girl who he presented the instrument to in return for a hug and giant smile.

“Now all you’ve got to do is learn to play it – piece of cake,” Nettles told her.

Even if you weren’t a big fan of Sugarland, it was hard not to enjoy the concert with their infectious charisma and love for performing live.

Warming up the crowd with his own hits, Nichols provided a solid line-up that anyone who arrived late should be disappointed for missing.

His singles included: “The Impossible,” “She Only Smokes When She Drinks,” “Cool to Be a Fool,” “What’s a Guy Gotta Do,” “Size Matters (Someday),” “I’ll Wait for You” and “Let’s Get Drunk and Fight.”

Nichols also sang a cover of Hank Williams, Jr.’s “A Country Boy Can Survive,” to which the audience responded very positively.

“I’ve got my hat on. I’m country now – that’s all it takes,” he joked at the end of the song.

SUGARLAND

JOE NICHOLS

Wednesday’s Indiana State Fair Band Day competition was never about redemption for the Marching Millers of Noblesville High School, but anyone associated with the high school musical program knew it was on most minds.

“No matter how hard you try, its human nature for kids to think about last year – ‘we’ll show you it was a fluke,’” NHS Band Director Stacey White said.

For the first time since 1995, the group did not make the top 16 finals session last year when they finished 24th.

“Especially for juniors last year, it gave them more drive,” said Drum Major Alexis Turner.

“I saw an entirely new band out there,” Drum Major Rebecca Carter added after the Millers first performance. “It was more polished, louder than any practice.”

The Millers focus for Wednesday was to perform its “Latin Art: Principles of Design” the best it ever had, proving their worth in the elite of Indiana high school marching bands.

“I’m real proud of the kids,” said White as he waited to hear the announcement of the top 16 schools in the 44 band competition late Wednesday afternoon. “I don’t know what’s going to happen in the next 10 minutes. All we can do is go and perform and we did. It was the best performance of the year. We’ll see where that leaves us.”

As school after school was named outside the top 16, the determination of White and the other Marching Miller band leaders to return to the final session was shown on their faces. While Noblesville was not named prior to the alphabetical announcement of the top 16, White told others he didn’t want to celebrate until he heard his band’s name called.

When NHS was finally called, the jubilation began for the Marching Millers.

“It feels better than last year,” White remarked immediately. “The placing is icing on the cake. What their reaction was when they came off the track – that raw emotion – that’s what it’s all about. That’s what we perform for, that’s what we go into education for.”

White said that energy was palpable before his band even took the Indiana State Fair Grandstand dirt track.

“The staff could feel the energy at the start line,” he said. “We hoped they didn’t over play.”

When he addressed his band back in the infield, White simply asked his students, “This feels better doesn’t it band?”

“Yes, sir!” they responded forcefully.

While the day was hot and the sun beat down relentlessly, White was not worried about his band’s energy for the evening show. As Noblesville approached the start line on the Grandstand dirt track the lights came on as the sun began to set in the distance.

“Everyone’s enthusiasm went up,” White said.

The Marching Millers first performed at 11:30 a.m. Wednesday morning and had a nine and a half hour break before playing again in the evening session at 9:04 p.m. During the day, White said the students were free to roam around the fair or meet with parents.

In between sessions, White said the Millers worked on its visual and musical execution to better its preliminary placing of 15th.

In the end, NHS moved up another spot as it finished 14th in the finals session – 10 places and 16 points better than in 2007.

“They (the band) were excited to move up a place – it’s something tangible to them,” said White. “When I told them that we went up six points they were really excited about that.”

The Marching Millers first Indiana State Fair Band Day performance at 11:30 a.m. Wednesday, Aug. 8, 2008.

The Marching Millers Band Day rehearsal at Hare Chevrolet Field on Monday, Aug. 4 and pictures from the evening performance in Indiana State Fair Band Day’s Finals session.

As the Sheridan High School Marching Band stood on the dirt track preparing to run through its Indiana State Fair Band Day routine, the members’ concentration was broken as they heard the last thing they ever expected – the band before them playing the same song as the one they were about to play.

“We’re louder, we played it smoother – we’re better,” said Senior Kristen Huffer, a bass drummer.

Performing as the 41st of 44 bands, Eastern Green’s marching band (Bloomfield) played “Thriller: The Music of Michael Jackson.” SHS, the 42nd band to perform Wednesday, included Jackson’s “Thriller” as the conclusion of its “Through the Decades” routine.

“They’re stealing our song – that’s our song,” thought eighth-grader Katie Martin, a member of the color guard. “We thought no one else would do that.”

While both bands may have played the 1982 smash hit, only Sheridan incorporated the music video’s choreography in its routine.

“We added it because we’d have the crowd’s attention and have fun with it,” said Martin. “It was really fun learning the dance. We thought it’d be a crowd pleaser.”

SHS Band Director Katie Bedia said she told her group to outshine Eastern Green before taking the stage.

“I told them to out play them,” she said. “Show them how small but mighty we are.”

Describing Sheridan as a small band may be an understatement. The Blackhawks had 16 members – four in the color guard – the fewest in Wednesday’s Band Day competition. North Daviess (Elnora) had the next lowest number with 20 members.

“I told them, ‘if you aren’t playing your part, who is?’ No one,” she said. “It provided them with more confidence and allowed us to give more individual attention.”

Since the band is so small, Bedia said SHS performed a concert at Holiday World in Santa Claus, Ind. and participated in four parades this summer instead of keying in on only its Band Day routine.

“It opened up other opportunities for us,” said Bedia. “We took less of a focus on Band Day to focus on other performance opportunities.”

“Practices were good,” added Libby Doublestein, SHS assistant band director. “Our kids have had a lot of fun this summer. Their performance today was probably their best.”

Both Doublestein and Bedia were excited about the Blackhawks performance Wednesday afternoon.

“You guys did a great job,” Bedia told her members as they marched off the track following their routine.

The Blackhawks received a participation plaque for their efforts, which are given to schools not in the top 25.

“With three to four weeks of practice, we’re not going to be really as competitive as in the past,” said Bedia. “We knew they had a good time and we knew they had done their best. The important thing is that we’re proud of their performance.”

Doors will open for the Saturday, Sept. 13 concert at 3:30 p.m., with the show beginning at 5 p.m.

Tickets will go on sale at 10 a.m. Saturday. Tickets are $50 for the lower pavilion pit, $39.50 for lower pavilion seats, $25 for upper pavilion seats and $19.50 for the lawn. A four-pack of lawn seats will be available for $60 for a limited time.

To stay fresh, Dave Matthews Band took a step back. The band, which originally formed in 1991, returned to its “Steve Lillywhite” roots - long-time DMB producer who helped create Under the Table and Dreaming, Crash, Before These Crowded Streets and most of the material on Busted Stuff.

Embarking on their current summer tour, the band enlisted the help of an old friend and some new ones. Missing, however, were two familiar faces – keyboardist Butch Taylor, who decided not to return on tour with DMB, and original member LeRoi Moore, who was in an ATV accident and punctured a lung and is not able to participate in this leg of the tour.

For those “Dancing Nancies” that have been to shows for awhile, it was a pleasure to see Tim Reynolds return to the stage with the band for a tour. Reynolds was in the studio on all of the Lillywhite albums and was the unofficial member of the band for the first half of DMB’s career. Trumpeter Rashawn Ross also returned for his second tour in as many years and newcomer Jeff Coffin replaced Moore on the woodwind instruments.

Without a new album to take up a majority of the setlist, the band went through their versatile song arsenal Friday night, sticking mainly to older fan favorite live songs – “Two Step,” “Proudest Monkey,” “Satellite,” “Dancing Nancies,” “The Dreaming Tree,” “Lover Lay Down,” “Drive In, Drive Out,” “Jimi Thing,” “Stay (Wasting Time),” “No. 41,” “So Much to Say” and “Too Much.”

Kicking off the evening, which lasted more than three hours, was “Don’t Drink the Water,” followed by “So Damn Lucky” off Matthew’s solo album and “Eh Hee,” a new song which was first played live by the band last year at Verizon.

The new live favorite and unrecorded “Cornbread” had a different style with Reynolds, Ross and Coffin and the high octane song provided the audience a good laugh and applause after Matthews sang scat over the music. Friday night also offered the crowd the newest DMB cover – Peter Gabriel’s “Sledgehammer.”

“We’ve been playing this a lit bit lately,” Matthews said.

While a majority of the songs were older, they had a new feel to them without Taylor and with Reynolds returning. Reynolds’ electric guitar prowess allowed Matthews to stay on acoustic guitar all night and provided a gritty feel on old songs. When he was filling in notes, he stayed reserved, but when they needed him to wail, he wailed. Reynolds’ sound added something lacking from DMB shows of recent years, especially when older songs were played.

Verizon Wireless Music Center’s stage turned into a musical playground filled with back flips, air kicks, sparklers, pyrotechnics and even foam sprayed over the nearly sold-out audience during the Jonas Brothers concert Wednesday night. However, unlike the local playground, ear plugs were needed to soften the deafening screaming of young girls throughout the entire show.

Although many may dismiss the trio as a heartthrob boy band, the Jonas Brothers are a talented group of musicians with a polished and energetic show. From the first chord on “That’s Just the Way We Roll” to the final note on “S.O.S.” the Jonas Brothers proved they were more than just three pretty faces as the brothers all sang and played a variety of instruments.

“I think it was very good,” said Therese Hartley of Indianapolis, who brought her son and daughter. “I was concerned about how age appropriate it would be, but they played to all age ranges. They’re good musicians.”

Hartley’s 9-year-old son Tommy said he got into the group because of their appearances in Disney’s “Hannah Montana” and “Camp Rock.” He was really excited when he heard his favorite song.

“‘Year 3000,’ because it’s about time traveling,” Tommy said.

The band mixed songs from Jonas Brothers, their upcoming studio album, A Little Bit Longer and the Camp Rock soundtrack, in which they starred with opening act singer/actress Demi Lavato, who joined them onstage for “This is Me” and “Get Back.”

While A Little Bit Longer won’t be released until Aug. 12, fans received a sneak listen to the album as nine of the 12 songs were performed.

The emotionally charged power ballad, “A Little Bit Longer,” provided the audience with a video about the group covering Nick’s recent discovery of his diabetes. Sitting alone at the piano, Nick informed the crowd about how he wrote the song about having the disease.

“No one can ever relate to how you feel,” he said. “As I laid in the hospital that night, I made a promise to myself that I wouldn’t let this slow me down. I want to tell you that it hasn’t slowed me down.”

“To all of you, I want to say thank you, because you are my inspiration. This song is for every broken heart, every lost dream, for every high and for every low. Tonight this song is for you,” he added.

Despite their ages – Kevin, 20, Joe, 18, and Nick, 15 – the threesome performed more like road veterans than adolescents. Their actions showed just how at home they were on the stage and their energy was infectious. The show included a variety of lifts in addition to the jumbo-tron and multiple screens filling the empty space in the three tiered stage setup.

“We have seven things on stage that have never been done before,” Kevin said prior to the show.

The band proficiently transitioned between fast and slow songs and provided plenty of face time up close with the crowd as they continuously ran up the extended center stage catwalk to perform only feet away from lucky fans.

When the band did play slower songs like “A Little Bit Longer,” they incorporated something to keep the audience focused and not lose attention, especially for their younger fans who were awake well past their normal bedtime. With “I Need to Find You” the boys sat on bar stools and played acoustically before pulling a young child up on stage to sing the chorus with Joe. Three separate platforms lifted the trio about 20 feet into the air during “Can’t Have You” as cameras continually flashed, turning the audience into a giant strobe light.

With their talent, songwriting ability, stage personality and progressive rock sound, the Jonas Brothers gave fans a glimpse of why musical longevity should extend their careers well past the 15 minutes of other heartthrobs.