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The sibling trio from McMinnville, Oregon broke out on TV with Heaven's Not Too Far, and they have stayed true to clear vocals and candid lyrics.

Small-town roots, big-room clarity

Their sound blends bright keys, clean guitar, and tight harmonies, with direct storytelling about grief, love, and starting over. Expect a set that leans on Sara, Lifeline, and Half Hearted, with Heaven's Not Too Far saved for a late singalong.

Songs that invite a hush

Crowds tend to be mixed in age, from AGT-first timers to indie pop fans, and the room usually gets quiet for the heavy songs. Watch for Joshua covering keys and a drum pad at once while Bethany locks the low end and Manny carries the top line. They write and demo much of their material in a small home studio in McMinnville, which keeps the live arrangements close to the record. You might also hear short interludes that stitch songs together, a trick they picked up to keep momentum between mood shifts. Everything about potential songs and production here is inferred from recent setlists and could shift by city.

The room they build together

This crowd dresses casual but intentional: denim, neutral knits, simple jewelry, and the odd lyric tee that quotes a bridge line.

Quiet connection over spectacle

You will spot a run of pastel hoodies with the phrase We're All Messed Up - but It's OK, plus beanies and tote bags that look home-printed. Fans tend to trade stories about grief or change before the show, and the room respects quiet moments without shushing or side chatter.

Little rituals, big meaning

When a beat drops in, hands go up in time instead of a mosh, and a simple clap pattern often pops up between songs. There is usually a communal sing on the final chorus of Heaven's Not Too Far, with phones held steady rather than waving. Handmade signs for Sara are common, but the vibe stays low-key and earnest rather than showy. Merch sells fast in softer colors, and lyric notebooks or Polaroid-style prints tend to be the items people talk about in line.

How the songs breathe onstage

Live, the vocal stack is the anchor, with Manny's light tenor up front and sibling harmonies adding a soft halo.

Hooks first, details later

Arrangements start lean, then add layers through pads and looped percussion so the chorus hits without turning into a rock wall. The guitar tone stays clean with a little echo, and Manny often uses a high capo position to brighten chords and leave space for keys. Joshua shifts between piano, synth bells, and a drum pad, while Bethany's bass lines move like melodies, not just low thumps.

Compact rig, roomy sound

They like mid-tempo builds, then a sudden drop to near silence so the crowd can sing a line back before the band reenters. A quieter rework of Sara or a longer outro on Heaven's Not Too Far is common, turning the last chorus into a shared refrain. Lighting tends to track the dynamics with cool blues and warm ambers, letting the focus stay on voices and words.

Kindred echoes for curious ears

Fans of AJR often latch onto the trio's DIY pop builds and sibling blend, though the mood here is more grounded than theater-ready.

If you like heart-on-sleeve pop

Echosmith listeners will recognize the clean, chiming guitar and openhearted hooks, plus the balanced stage chemistry of a family band. If you like confessional storytelling and soft-edged vocals, Alec Benjamin lands in the same lane, especially on hushed ballads.

Neighbor sounds, different shades

Dean Lewis fans overlap because both acts turn life shocks into big choruses that still feel intimate. For a slightly grittier take on emotional alt-pop, X Ambassadors bring a heavier drum punch but chase a similar cathartic lift.