Hilary Duff: Is Luck… or Something What Dreams Are Made Of?

With the revival of the Y2K aesthetic, it is only right that we pay our respects to one of the founding members of the original movement: Hilary Duff.

Since I didn’t grow up with Disney Channel, my first introduction to Hilary Duff was watching The Lizzie McGuire Movie (2003) at a sleepover with my neighbour. I was instantly made a fan from the fashion, the story and, of course, the iconic soundtrack, featuring Duff herself. I then tracked down every episode of Lizzie McGuire (2001 – 2004) on YouTube and haven’t looked back since. “Sing to me, Paolo” has a permanent place in my vocabulary. Even if you didn’t watch Lizzie McGuire – or like me, didn’t have access to it – you might recognise Duff as Sam Montgomery in A Cinderella Story (2004), Olivia Burke in Gossip Girl (2009), or more recently, Sophie Tompkins in How I Met Your Father (2022 – 2023). But acting is not the only tool in this teen idol’s arsenal.

Duff made her debut in the music industry with Christmas album, Santa Claus Lane, released in 2002, shortly followed by her second, Metamorphosis, the next year. After reaching the top of the Billboard 200 chart, Duff has never managed to reach the same heights, even with three more albums (2004, 2007, 2015). Now she is back to reclaim her spot with luck… or something, which came out earlier this week on 20 March 2026.

Weather for Tennis

I always wonder how artists choose what song should open their album or whether they write one for that purpose. In whichever case, I think Duff made the perfect call. There’s always a gamble with returning artists, the question of whether they’re still as good as when they left always looming over them, but the sound was so quintessentially early-2000s that I knew with no hesitation, Hilary Duff was back. It introduces the adult themes of the album, without losing the style of her younger self, which is really refreshing to see. The titular motif is consistent in the pre-chorus: ‘put the ball in your court’, leading into the chorus: ‘it ain’t weather for tennis’, and even in the bridge: ‘going over to the neighbours to drink cocktails with your pinky up’ paints the picture of a country club. It’s really great songwriting.  

Roommates

The introduction reminded me of Groundhog Day; the song kept trying to get started, but then reversed, and tried again, but then reversed.  It mirrors the 1 Step Forward, 2 Steps Back nature of this relationship. No matter how hard she tries, it is impossible to make progress. However, it also reflects how she longs for the honeymoon phase and wants to return to the way things were at the start. For all the faults of the partner in this song, Duff also needs to communicate better, preferring an ‘easy fix’ to working on their problems. She’s giving him ‘hints’ like ‘touching herself’ in front of him, but is he even aware of the problem? Men aren’t the brightest when it comes to women; if there’s something we want them to know, we have to spell it out for them. Although, no one should have to beg for the bare minimum.

We Don’t Talk

One of the most vulnerable parts of being an artist is the fame that comes with it. Listeners don’t just know you, they know your life and have all the tools to figure out the cryptic clues in your songs. Duff acknowledged that people would probably deduce We Don’t Talk was written about her older sister, Haylie, but why should she trade authenticity for keeping secrets that are already out? It’s a quality I really admire. Even though I can’t relate to the words, the emotions hit the same, having witnessed the sisters share the spotlight to now facing an ‘emotional eviction’ from each other’s lives.

Future Tripping

Future Tripping, on the other hand, is something I know all too well. I’m not sure if Duff has ever spoken about her experiences with anxiety, but this is a story I am very familiar with, so I always appreciate exposure from high-profile celebrities. It almost reminded me of those classic home workout videos from the 90s with the vintage-style beat. The vocals were very light and airy, which matched how she’s talking about not being grounded and the disassociation that comes with anxiety. There are some really great lines in this song, ‘a victim of prediction’ being one of my favourites for its clever internal rhyme and how close it hits to home. The repetition of ‘I’m not dying’, as well, mimics the way you have to coax yourself back to reality. It really shines through that Duff has put a lot of effort and intentionality into this record.

Growing Up

I felt from the opening verse that the chorus was going to break out into more guitar and upbeat vocals but was slightly disappointed to hear the same mellow head-bop as the rest of the album so far. I wasn’t a massive fan of the backing vocals, either; they sounded like two voices singing at the same time rather than together. Although, within the context of the song, I can appreciate how its like your older and younger self coming together. The lyricism, however, again is a standout. The chorus is interpolated from blink-182’s Dammit, which defined the pop-punk era of Duff’s childhood and throws us into nostalgia and reminiscing. After We Don’t Talk, it’s also nice to hear Duff speak about the ‘family you can choose’, and how your circle isn’t limited to blood.

The Optimist

The Optimist has an aura of melancholy, introducing acoustic guitar to the mix. I’ve previously credited Duff’s skill of addressing mature topics through an upbeat lens, but here we have a new perspective. Previously it has been about connecting to her younger self and remaining in the genre that feels most authentic, but now she shares that remaining positive is a necessity when everything around her is falling apart. The communication issues raised in Roommates and We Don’t Talk begin to make sense as we learn more about Duff’s father and his role in starting the cycle. Each song is an individual piece in the wider puzzle of the album.

You, From the Honeymoon

Using modern language like ‘matched my freak’, Duff proves that she can appeal to a new demographic. Rather than failing to pick up where she left off a decade ago, she is committed to moving forward and trying something new. I have to admit, with the rise of synth-pop, I have been deeply missing the use of instruments – keyboard, drums, electric guitar – so this was a refreshing change of pace. However, the lyricism let me down here, which is an anomaly for this album. Bridges are renowned for having the potential to send a song from good to great, but Duff’s appear to be a means of getting from A to B. I would love to see her experiment more with this in the future. 

Holiday Party

I’ll blame this on culture difference, but when I hear ‘holiday’, I think of summer and spending time with friends and family, and any parties would involve a barbecue or pool. However, although the opening whirring did remind me of a sprinkler, the overall vibe was more winter: cold and (for some people) a time for comparing yourself to others. Within context, the whirring serves yet again as a symbol of Duff’s anxiety, spiralling into paranoia. The backing vocals have the same effect; when you listen with headphones, they appear individually in each ear like you’re surrounded by hypotheticals and ‘what if’s. It’s a really nuanced take on relationships that I’ve rarely heard: knowing you’re the problem, but not how to fix it. More of this, please!

Mature

This is the standout of the album, for sure. It’s a canon event for young girls to hear ‘you’re so mature for your age’ and not realise what it really means until they’re older. Women are taught to expect responsibility from the bestowment of their first doll, while men are free to embrace their childish ways immaturity for as long as they please. Although, God forbid she actually becomes the age she’s acting because, as we all know, a woman’s worth is tied to her youth. Duff encapsulates this perfectly, relating it to her own experience of dating an older man. Having started her career at a young age as well, it adds another layer of forced adulthood with the image of a child. I should also say, it’s fun to listen to, as well.

Tell Me That Won’t Happen

First of all, what have we got against tarot cards? I mean, I hate tarot cards too, but in a ‘how dare you call me out’ way, not ‘I don’t understand whimsy’. Anyway, this is top-tier avoidant attachment, which is really dangerous for validating my toxic behaviour. Once you make it past the honeymoon phase, that’s when the relationship properly starts and that’s supposed to be a good thing. However, Duff shares her worries that with nothing left to discover, their feelings will fade. But it’s like Chandler said in Friends: ‘to get past the beginning and still be around each other all the time, that’s pretty incredible’ and ‘the rush is knowing that you’re going to be together for the rest of your lives’. Seriously, who needs real men when fictional ones exist? The song also addresses concerns about having already reached your prime, but as Daniel Radcliffe proved with his accomplishments in theatre, your success is not limited to a singular peak.

Adult Sized Medium

This midtempo track felt a lot like Taylor Swift’s Anti-Hero (which is a massive compliment) and had similar coming-of-age themes. It’s quite a scary thought, waking up not recognising yourself and wondering how you got there. Even though I’ve barely entered my twenties, sometimes I do feel like I’ve blinked and suddenly I’m an adult. ‘Nobody runs faster than time’ is a very rude awakening (but a great conclusion to the album).

I find the common trajectory for child stars is being so desperate to prove that they’ve grown up that they oversexualise themselves or swear a lot in a way that comes across as cringy and inauthentic, but Duff doesn’t do that. Her personality hasn’t changed; she’s still the same person, just older and wiser. Then there’s the opposite issue of clinging to former glory, trying to replicate a time that doesn’t exist anymore, but Duff conquers this too. She manages to capture nostalgia without losing herself in the past. Overall, I think luck… or something is a really strong album – comeback or not – and I’m so excited to see what the future holds.

To hear this album live, you can catch Hilary Duff on her lucky me tour in Cardiff, London, Manchester and Glasgow from September 8th – 15th.