As teenagers in the early 2000s, the Jonas Brothers had the makings of a classic “boy band.” In order of importance: first, they were good-looking; second, they could sing. They packed sold-out stadiums with obsessive girls screaming and toppling over one another for the mere chance to catch a brother’s eye. There was Joe Jonas, “the hot one”— shaggy side-swept bangs perfectly placed despite frequent hair flips. Nick Jonas was “the cute one” — baby-face poking through an unruly mop of curls. Kevin Jonas was “the third one”— the eldest, confined to the others’ shadow.
Now, 20 years after their first concert, the Jonas Brothers are in the midst of their 14th tour, supporting their seventh (and most disappointing) studio album, “Greetings From Your Hometown.” Last month, Disney Channel announced the brothers’ return to their original roles for a third Camp Rock movie. In the words of Yogi Berra, “it’s deja vu all over again.” Rather than embrace the inevitable next midlife crisis, the brothers are smoothing out their wrinkles and masking their gray hairs in an attempt to stubbornly prolong an image of teen stardom.
Faithful fans unhesitatingly accept the band’s career stagnation. The Jonas Brothers represent one of the last vestiges of the “American boy band” — once a ubiquitous pop culture phenomenon — and fans look to these brothers to fill the gaping One Direction-sized hole in their hearts.
To the chagrin of middle-school girls everywhere, the current cultural and musical environment has evolved beyond this fad. NSYNC broke up in 2002. One Direction split off in 2016. While rumors of revival may circulate, these bands knew when to call it quits. Six years after their exciting reunion in 2019, the Jonas Brothers are back where they started. Although no longer physically prepubescent, the brothers self-identify as a “boy” band, prioritizing a formulaic, nostalgic image over genuine creative evolution. If they refuse to either quit and save face or evolve to match their maturity, the Jonas Brothers — mirroring a trend of similarly uninspired pop culture brands — risk turning off their audience and facing imminent cultural irrelevance.
Joe Jonas — a recently divorced father of two — is still channeling “the hot one,” although he ditched the side bangs for a more classy textured fringe. Nick Jonas — with his own baby-faced three-year-old daughter waiting at home — still plays into being “the cute one,” his curly mop tamed, apparently having discovered hair gel. Kevin Jonas — celebrating his 16th wedding anniversary in December — while still “the third one,” is now distinguishing himself as a more prominent member through increased on-stage solos and leading vocals.
The brothers are pushing 40, rocking rakish whiskerage and probably plagued with bouts of lower back pain. Yet, all are strenuously squeezing into a mold set by their 15-year-old selves. With such a heavy dependence on superficial qualities over artistic product, the Jonas Brothers risk that their appeal and cachet will continue to decay with age.
When “Greetings From Your Hometown” came out in August, my best friend (and lifetime Jonas Brothers superfan) sat me down and insisted we give it a listen. At first, my inner tween girl bubbled up excitedly, curious what new direction the brothers might take their well-established poppy sound. The first track and lead single “I Can’t Lose” began: basic backbeat, punchy synth, falsetto chorus … Skip. “Tables:” punchy synth, basic backbeat, falsetto chorus … I picked another at random. “Backwards”: basic, punchy, falsetto — okay enough! I quickly closed the tab and smiled politely but tellingly at my friend. Repetitive and safe, this forgettable recycling of their previous work had an impact on the musical landscape comparable to that of a singular dust particle in a vast sandstorm.
Their new album’s lack of artistic merit aside, the Jonas Brothers’ 20th anniversary tour is drawing in die-hard fans. My best friend, though admittedly unimpressed with their recent recordings, missed multiple days of school to fly up from California for the Seattle show. Her rationale: “I mean, it’s the Jonas Brothers.” In a post-concert debrief, she told me the handful of “Greetings From Your Hometown” songs played were obscured by a setlist almost entirely consisting of old hits.
The brothers are well aware of what they are valued for; they ensure that attending a Jonas Brothers concert is like stepping inside a time machine set to a Y2K predating their present mediocrity. Fans young and old enthusiastically embody giddy tweens, recalling the innocence and excitement of boy-crazy adolescence, and the band is eager to enable this charade.
The Jonas Brothers are a musical representation of a greater societal pattern: Brands become dependent on consumers who fall prey to nostalgia without regard for the product’s quality. This ultimately disincentivizes the brand from evolving alongside the changing societal landscape, remaining stuck in their outdated origins.
This year, Lululemon, the longstanding supreme leader in women’s athleisure, idolized for its high-end and sleek designs, was slapped in the face with a 15 percent decrease in stock price alongside a plethora of product complaints. As quality declines, the brand is confronting its diminishing status as the queen of workout clothes while its customer base starts seeking out better, more accessible alternatives like Fabletics. Innovation prevents obsolescence. A passive strategy works, at least until the next thing comes along. If a brand, or a band, remains stuck in the past, it’s easier for their relevance to fade in the shadow of the new and exciting.
As fate would have it, grown men pretending to be young boys on stage is as off-putting as it sounds — six stadium shows had to be canceled and replaced with smaller venues due to soft ticket sales. The Jonas Brothers have confronted a harsh reality: The mass allure of a boy band is tied to its freshness and the retention of that elusive “it” factor. The brothers can botox the situation all they like, but the cracks in their youthful facade are undeniably breaking through. Their unwillingness to take creative risks is ultimately limiting the evolution of the Jonas Brothers’ musical legacy.
Justin Bieber, a similar product of the 2000s pop machine, did what the Jonas Brothers couldn’t. This summer, he released his new album “Swag,” transcending teen pop stardom by introducing a new sound that dives deep into the alternative R&B genre. On Sept. 15, the Coachella Festival announced Bieber as a headliner for next Spring’s event.
Any woes the Jonas Brothers face are not for lack of talent — all are accomplished multi-instrumentalists, vocalists and songwriters. Instead, they are limited by intentionally playing it safe, holding onto an image frozen in time — one that is slowly slipping through their fingers. “Greetings From Your Hometown” is boring, unoriginal and ultimately unnecessary. The Camp Rock 3 movie will likely meet a similar fate.
For overgrown boy bands and out-of-style fashion brands alike, the only thing that keeps them in this rut — and can get them out of it — is themselves. The way I see it, the Jonas Brothers have two options: break up for good and cement their boy band legacy before their looks fail them, or take a creative risk their future selves will thank them for. Here’s hoping Nick Jonas grows his hair Hozier-long and explores the guitar strumming intricacies of indie folk rock.
Joelle Rudolf SC ’28 is a boy band fanatic. Her go-to Karaoke song is “What Makes You Beautiful”; she spent weeks putting herself back together after Liam Payne’s untimely death, and she often finds herself daydreaming about Justin Timberlake’s golden curls. Her best friend is the reason why she appreciates the young Nick, Joe and Kevin. However, Joelle will not be caught dead wasting her time or money on a “Greetings From Your Hometown” tour concert ticket.
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