Hilary Duff’s ‘Luck… or Something’: A Journey of Motherhood, Music, and Rediscovery

Hilary Duff, the former child star, often faces the question of how she navigated fame and found balance. While often perceived as a ‘trad wife’ happily tending to her four children and embracing domestic life – sourdough bread, crocheting, and backyard chickens included – the reality, she admits, is far more nuanced. “It’s easy to look at me from the outside and be like, ‘She’s so balanced and grounded and has seemed to figure it out,’” she shares. “But there’s been a lot of ups and downs and struggles.”

These experiences fuel her first album in over a decade, Luck… or Something, released on February 20th via Atlantic. The title itself, drawn from the synth-heavy track “Adult Size Medium” – “How did we get here?/Was it luck or something?” – encapsulates her journey. “I am happy with who I am,” she explains, “But the ‘or something’ is really the meat of the answer.”

From Disney Star to Motherhood and Back

The last time Duff released new music, in 2015, the world looked very different. Barack Obama was in office, Mad Men had just concluded, and she was just beginning her relationship with musician-producer Matthew Koma. She recalls their initial meeting, arranged by her A&R person, as a two-hour conversation centered around music. Koma, playfully admits, sent his manager an email afterwards, declaring, “She’s really pretty!” (He quickly adds, “I said, ‘I want to marry her.’”) After years of dating, they tied the knot in 2019 and have been creative partners ever since.

Koma, 38, notes that Duff had always considered a return to music, but the birth of their youngest daughter, Townes, in 2024, solidified her decision. Her primary hesitation stemmed from the changed landscape of the internet and the potential for instant feedback. “Everyone has a way to tell you how they feel about what you make, and that felt scary,” she says. “I was like, ‘Why would I subject myself to this? We have a happy life and amazing kids.’ But obviously, I miss performing, and I desperately miss having that person be in the forefront.”

Embracing Vulnerability and 2000s Nostalgia

With the resurgence of 2000s nostalgia, Duff has found a new, younger fanbase – many born around the time her breakthrough album, Metamorphosis, was released in 2003. She was already a household name thanks to Lizzie McGuire and films like Cheaper By the Dozen and A Cinderella Story. By 2025, the demand for new music was undeniable, and her return announcement sent the internet into a frenzy. Fans proclaimed she was “here to save pop music,” a reaction that stunned Duff. “That was not even real life,” she says. “I was like, ‘What the fuck is happening? Some bot did this.’ It was not a normal day.”

Koma encouraged Duff to focus on creating music she genuinely loved, free from expectations. “We’re not doing this for anybody,” he emphasizes. “There’s nothing riding on this. This is for her.” Duff recalls his advice: “We just have to make what we think is cool, what you want to listen to in your car.” The album explores themes of motherhood, marriage, and the passage of time, offering a realistic and relatable portrait of modern life.

‘Luck… or Something’: A Cohesive and Honest Record

Luck… or Something is a cohesive record that doesn’t shy away from vulnerability. Duff tackles anxieties surrounding motherhood and marriage with refreshing honesty. She continues to connect with audiences by mirroring adult anxieties, as she did with Lizzie McGuire, where she portrayed a clumsy and relatable character. “Are we having enough sex?/Are there exes you miss?” she sings on “Future Tripping Out.” “Will your crisis be a car/Or some bitch at a bar/Who says she loves Bon Iver/Calls him Bon Ivar?”

Duff wanted to avoid portraying an idealized version of motherhood. “It was really important to me to not make a record that was like, ‘I’m a mom and I pick up my kids at school and pack lunches every day and it’s so hard,’” she clarifies. “It was not at all what I was interested in talking about. What I was interested in talking about is the shift in how it makes me feel, as a person.”

The album, co-written and produced with Koma and Bryan Phillips, blends Duff’s earlier sonic influences with a modern sensibility. “Weather For Tennis,” the playful opener, is a nod to her pre-Hot AC sound. Songs like “Holiday Party” explore relatable fears, such as infidelity, while “The Optimist” delves into complex family dynamics. “I wish I could sleep on planes/And that my father would really love me,” she sings, revealing a deeply personal vulnerability.

Duff also addresses strained family relationships in “We Don’t Talk,” sparking speculation about her relationship with her sister, Haylie. She acknowledges the challenges of having a life lived in the public eye and the inevitable scrutiny that comes with it.

The Lucky Me World Tour & Beyond

Duff’s comeback tour, initially an intimate run called Small Rooms, Big Nerves, has now evolved into the Lucky Me World Tour. Her setlist blends new tracks with beloved classics like “So Yesterday,” “Come Clean,” and “What Dreams Are Made Of.” She even embraces the viral TikTok trend surrounding her 2007 choreography for “With Love,” inviting fans onstage to join her in the dance.

Ultimately, Duff’s journey is about rediscovering herself as an artist and a woman. While she may not be “saving pop music,” she’s undoubtedly connecting with audiences on a deeply personal level. As Koma observes, Duff often underestimates the impact she has on others. “It’s a beautiful thing that she’s not [aware of it], but it’s also beautiful to see her have those moments where you can’t deny how celebrated and how deeply [she’s] affected people.”