Hilary Duff’s Brooklyn Concert Was Cathartic
Let's recount the night, 'cause why not?
On the heels of New York’s biggest snowfall in years, the lucky 2,700 Hilary Duff fans who scored tickets to the singer’s sold-out tour, Small Rooms, Big Nerves, filed into the Brooklyn Paramount. By the good fortune of the Ticketmaster artist presale gods, I was one of them.
Dirty snow and biting air headlined the journey there, but the Tuesday-night show offered a counterbalance: a warm rush of pure joy and nostalgic release. Call it a collective catharsis.
Some concertgoers brought more than a preparedness to sing along to the songs they know by heart; they dressed the part. Trademark Y2K accessories were in supply—with butterfly clips leading the charge. I spotted at least one nod to Lizzie’s pop star outfit from The Lizzie McGuire Movie. Many attendees donned old concert tees they’ve presumably held onto for years. That being said, I expected more from the audience in the fashion department. I wanted to be overwhelmed by the looks, but I didn’t feel an immense sense that the crowd showed out. Maybe it was the weather, or that many outfits were hidden under big coats, or that I simply couldn’t get a good grasp on everyone’s attire in my unyielding excitement for the show.
Regardless, I based my outfit on the Lizzie McGuire we never got, using only what I had in my closet: a tag-less mesh, purple-blue, tie-dye turtle neck I had the pleasure of bringing home from Cosmo’s fashion closet circa 2019, a black Skims bodysuit, straight leg jeans that border skinny, and copious silver accessories. (Let this be your sign, from one pack rat to another, to not toss that top you might have good use for some day!) For practical purposes, I wore Sorel boots to trudge through the slush and a gray faux fur coat. By wearing the latter, I ended up twinning with Hilary as she was also wearing one when she emerged onstage. So, that was another win!
Throughout the night, the sea of electric energy was fueled by a wonderfully devised setlist. The show fittingly began with “Wake Up” (perfect, although it would’ve been even more so if it was a Saturday night) and rightfully ended with “What Dreams Are Made Of” from The Lizzie McGuire Movie. Hilary belted out other fan favorites, like “So Yesterday” and “Come Clean.” She sang more hits also featured in her filmography—namely, “Fly” and “Someone’s Watching Over Me,” both of which were part of the Raise Your Voice soundtrack. (I recently rewatched that 2004 flick, so stay tuned for my musings on that experience here… unless someone pays me to do it elsewhere!)
From Hilary’s upcoming album titled luck… or something, which drops on February 20, she performed singles “Mature” and “Roommates.” The former is a bop, and the latter is catchy but kind of confusing (although a bit harsh, the Cut has a point). She debuted “Weather for Tennis,” “Future Trippin,’” and “We Don’t Talk” live. I’m prepared to listen to “Future Trippin’” on repeat when the album is officially out.
To no surprise of my own, Hilary sounded incredible. The drapery-lined stage made the show feel more intimate. The gleaming disco ball and pink, blue, purple, and red lighting design gave the pop star performance the perfect level of technicolor sparkle.
Admittedly, this was the first concert I’ve been to in years. Typically, I assume tickets are out of my price range (Hilary’s were $75! A steal!) or direct my money elsewhere. I can’t even remember the last concert I went to. Although, I know the last one I was supposed to go to was for Diplomacy in March 2020, which naturally got canceled. Nevertheless, how fitting is it that Hilary’s return to music also became my concertgoing rentrée?
At a time when everyone wants to live in the good parts of the past (see: the social media current of 2016 throwbacks), the night balanced sentimental yearning with an eye toward a new beginning. I’m as excited to listen to the rest of Hilary’s new album as I was to see her perform literally anything back in the day—and perhaps even more so now.