Jonas Brothers freshen up a familiar boy-band formula

In their hit cover of the English pop-punk band Busted’s “Year 3000,” the Jonas Brothers sing about a visit to the future, where “this song had gone multiplatinum.”

If they keep proceeding at their current pace, they won’t have to wait quite that long: Thanks in part to their opening stint on last year’s blockbuster Hannah Montana tour, the band’s self-titled sophomore disc (which includes “Year 3000”) is on track to hit the million-sold mark within weeks.

A squeaky-clean trio of New Jersey natives who overcame an initial bout of record-label mishandling (with help from the kingmakers at Radio Disney), the Jonases have become three of the brightest lights in the tween-pop firmament, and Saturday night at the Gibson Amphitheatre, during the second of three headlining shows the band played over the weekend, the brothers basked in their newfound glory.

Literally: Several times throughout their 90-minute set, 15-year-old Nick, 18-year-old Joe and 20-year-old Kevin simply stood onstage and gazed out at the audience of shrieking girls, soaking in the adoration like victorious candidates on election night.

The Jonas platform is a canny one: They marry the high-energy crunch of today’s emo acts to the blue-eyed R&B; that has motored countless groups of young white men to boy-band success. That makes the songs on “The Jonas Brothers” feel fresh and familiar at the same time.

In a similar way, the band’s show Saturday intermingled the cutting edge and the tried-and-true.

The stage’s tri-level set offered the Jonases multiple opportunities for light acrobatics; midway through a new tune from the band’s third album, due later this year, Joe dropped through a hidden trapdoor, eliciting a round of oohs and aahs like a veteran Las Vegas showman.

Yet the simple tricks proved just as satisfying to the Jonases’ fans, as demonstrated by the roar that approved Nick’s tearing the sleeves off his shirt. Getting to see these guys in the flesh (the more the better) was the point, not their musical mastery.

Still, the Jonases are tremendously more polished performers than predecessors such as New Kids on the Block; even if they relied on their four-piece backing band for most of the music’s muscle, the brothers’ singing and playing reflected the degree of sophistication their media-savvy fan base now expects.

Only near the end of the show, when Nick led the group through a soggy piano ballad that made you wonder how you’d ended up at a Counting Crows gig, did the energy falter. Fortunately for the band, the guy running the video monitors on each side of the stage found the perfect device to keep the crowd engaged: a close-up of Nick’s face.