By Gregg Keniston

2026 began with new goals, new music announcements, and a dramatic tell-all article that featured two Disney Channel leading ladies at its helm. Ashley Tisdale wrote to The Cut, that she was over her celebrity mom-group due to ‘feeling like she was back in high school. – ”Breaking Up With My Toxic Mom Group.” The group featured famous names like Meghan Trainor, Mandy Moore, and Hilary Duff. Coincidentally, Duff had just announced a new album luck…or something, just two months prior. Now, I don’t care about the details of their supposed feud or what led to this explosive star-studded tell-all, but it is a great marketing strategy for both ladies to waltz back into the limelight. Considering Tisdale also was rebooting her hit animated sitcom, Phineas & Ferb as well. Let’s take a look at some of the overlooked but, timeless music, the two Disney queens have graced us with and what will be on the horizon.

Ashley Tisdale

Though her music beginnings came to fruition a bit later in her career than that of Hilary Duff’s, Ashley Tisdale unleashed some bangers during her time under Warner Brothers Records. She caught my personal attention the moment I heard her rendition of Wham!’s “Last Christmas.” It is my favorite version to have been released apart from the classic Wham! version. Then she dropped “He Said, She Said,” and the earth fell on its axis.

Headstrong

This album received mixed reviews but, still packs an epic, pop-punch that will get you up and dancing. From the start, a fusion of tropical undertones alongside club beats flow through the tracks like water. Immersing the listener in a feel-good state, Tisdale is proclaiming confidence and how she wants to be viewed and treated. All through the album she creates a little scandal with a crush.

“Not Like That” is an empowering song that places the singer standing out from the crowd of typical petty girls. “Be Good to Me” is that proclamation that Tisdale doesn’t want too much. “He Said, She Said” is a gossipy, flirty track, that throws pop into overdrive. “Don’t Touch (The Zoom Song)” and “Going Crazy” each play off the flirty theme of the album perfectly. Ballads like “Over It,” We’ll Be Together” and “Suddenly all capture Tisdale’s vulnerable side without straying too far from its bubblegum-pop brightness. The album reflects off a small image mixed with any early 2000’s group like A*Teens, or No Secrets. If I could give the album one critique, is that Disney or its producers had too much enhancement done to the album rather than using Ashley Tisdale’s authentic voice with her attitude as a tag-team combination. Overall, Headstrong continues to be a tinge of nostalgia for anyone growing up in the DCOM (Disney Channel Original Movie) era.

Key Tracks: “Don’t Touch [The Zoom Song],” “He Said, She Said,” and “So Much for You”

Guilty Pleasure

After mostly graduating from Disney Channel (because somehow one is always tied to Mickey Mouse in some way, shape or form for a number of years after); Ashley Tisdale unleashed her Britney Spears-lite era. But, shockingly Tisdale’s 2 records were under Warner Brother’s label rather than the traditional Disney route of Hollywood Records. Having been my personal favorite, Guilty Pleasure lays out a heavy set of pop-rock tracks mixed with two, eased-in ballad songs; “What If, and “Me Without You.” Though, it was unfortunately not as commercially successful, it had more appeal to me than her predecessor to my ears.

Selecting the right first single often makes for a impactful album and “It’s Alright, It’s OK” provided the perfect exciting tease new material and begin a music revolution for the teenage millennials at the time. The fellow New Jersey native hit home with the album crafting a epic story blended with Spears nods. What do I mean by this? From “Acting Out” to “Masquerade” and even “How Do You Love Someone”; each song’s lyrics tells a mini story and paints a picture of creativity. “Overrated” and “Tell Me Lies” are classic angsty ballads that lend themselves to be fun bridges between the rest of the tracks.

Meanwhile, songs like “Crank It Up, “Hot Mess,” and “Switch” all give off hints of calling back to Britney Spear’s 2007 album Piece of Me. Within the middle of the record, “Erase and Rewid,” “Hair,” and “Delete You;” are a perfect ensemble of hairbrush microphone jams or car-karaoke that allow the listener to release their inner wild side. Finally, “Blame It On the Beat” rounds out as a solid but, potentially unnecessary bonus track. This is obviously based on personal preference.

Key Tracks: “Erase and Rewind, “How Do You Love Someone,” “Masquerade.”

Symptoms

Coming off the hype of Guilty Pleasure, Ashley Tisdale took some well-deserved, personal time to herself and dove into other projects unrelated to music. Ten years later in 2019, we heard sparks of Tisdale returning to the mic. Teasing on social media with samplings of the lead single, “Voices In My Head,” Symptoms was born that Spring. The sound of the album keeps the artist’s fans appreciating and enjoying some of her music roots but, crafting a new perspective of folk and alternative-pop essences. Utilizing keyboards and light synthesizers changes up from the traditional pop sound her fans had grown accustomed to.

The title track “Symptoms” leads in with a trippy, kind of tropical sound and immerses the listener into an experience of wariness to commitment but, the strong desire to kick the uneasy feelings. “Looking Glass” plays into the initial track, hinting that, to be with her is to change up the view of which that lover will interact and interpret her. Then, “Love Me & Let Me Go” just throws all the paper up into the air and as Tisdale proclaims, she is done and starting on a fresh page for herself.

The darker tones continue with “Insomnia”. This short album is a complete 180 from her prior work but, still reflects that Ashley Tisdale can be an actor and artist contender, one and the same, even ten years later. The song is a swaying, relaxing bridge through the album. Longing for her love, Tisdale finds peace from her demons she repeats of through her album in her other half. “Vibrations” goes for the simplistic enjoyment of togetherness, rather than going out and dealing with a crowded room. Though the following track maintains a bit repetition lyrically, “Under Pressure” proclaims a freedom from feeling so overwhelmed and declaring that the singer will not be held back or, held down by stressors.

Rounding out the album, “True Romance” is a fun tug-of-war track that exclaims best of Ashley Tisdale’s then, fresh engagement and marriage to husband Christopher French in 2013 and 2014 respectively. And considering that the album itself was crafted between 2012-2013 and 2019 that would make a lot of sense. The follow-up single “Voices In My Head” is a perfect blend of her current musical state and an ode to her prior works. Its fun, bright and wispy rhythm and tonality break from the darkness effortlessly. Lyrically, it still a battle with Tisdale’s mental health struggles at the time but, through her art, the struggles are expelled from existence. At the end, “Feeling so Good” is the resolution the listener has been hoping for throughout the short piece. Tisdale wrapped this work in her post-television and personal struggles and made them work for her. Even critics graced this album with maturity and poignant vulnerability anyone can relate with.

Key Tracks: “Voices In My Head,” “True Romance,” and “Under Pressure”

Hilary Duff

The early millennium brought about Disney’s classic good-girl, Hilary Duff. Starring in movies from Casper Meets Wendy to Agent Cody Banks with Frankie Muniz, to within a few years time, the series that ultimately made her a household name – Lizzie McGuire, and its follow-up movie The Lizzie McGuire Movie; Hilary Duff exploded into the hearts and lives of a young generation. But, what set her up for success was being a doubling diva, acting and singing.

Santa Claus Lane

In briefly touching on Hilary Duff’s first album (released in October, 2002 on Wikipedia; but on Apple Music noted as (October 2003), I love Christmas music more than most people. However, the album was released before my exposure to Hilary then. Moreover, in just the samples I’d heard over the years, I cannot count the album as a contender of her true musical career in how overdone it sounds – production wise. That all being said, “What Christmas Should Be,” lyrically is a pretty, comforting and different track. Plus, the artwork certainly works in Duff’s cuteness factor.

Metamorphosis

Oh, where to begin! Having been one of my first CDs to own…yes I said CDs, I’m that old. This album helped defined a generation. You know 2 – 5 seconds into “So Yesterday,” “Come Clean,” and “Why Not” exactly what is blaring through your speakers. The whole album is fun, quirky, and a feel-good pop piece that make the dull in any day shine bright again.

“So Yesterday” starts the record off with a heavy cymbal and drum clash, capturing the listener in an intense moment of a teenage relationship. Throwing her hands up, and forgetting all about the drama, Duff is seeing things clearer and moving on with her life. Following suit, “Come Clean” is the symbolic beginning of her “Metamorphosis.” It’s reinventing and allowing herself to change with maturity, experience; and just as she sees fit.

Songs like, “Anywhere But Here,” and “Love Just Is,” are fun, light and whimsical; while others such as: “The Math,” “Little Voice” and “Workin’ It Out” provide a little head-banger vibe and procure an edgy sound to Duff’s sweet charm. “Inner Strength” and “Party Up” feel like necessary filler tracks but, can easily be someone’s favorite for their inspirational and medium-rock-pop element respectively. “Where Did I Go Right?” alludes to the brightest, best choice of a new or current romance that feels like the only good thing going for Duff in the particular moment. “Sure, I want someone to understand…” Duff proclaims on “The Math.” But, I want you to understand why this debut record is a stand-out. It is a near-perfect balance of fun and emotion. Metamorphosis is the definition of navigating your teenage angsty years and having fun doing so.

Key Tracks: “Why Not,” “Anywhere But Here,” “The Math,” and “Come Clean.”

Hilary Duff

In 2005, along came Hilary Duff’s self-titled second album. Hilary Duff showcased the artist in a more mature, personal tonality with larger punk undertones, to compete with the likes of artists such as Avril Lavigne, and at the time, Ashlee Simpson.

Though it generally did not receive the same positive reception as its predecessor, Duff’s follow-up was mixed for sure; the album has it gems though for sure. Those few tracks keep the artist burning just bright enough to reignite her music career going forward. Opening up with “Fly” was one of the finer choices in creating the album. The beginning notes and theme of a live concert and audience allude to a grand beginning of the whole piece. Followed up with “Do You Want Me?” The song is a solid, tongue-in-cheek, seductive track that keeps the listener engaged.

Unfortunately, the next song, “Weird;” plays and feels out of sync with the rest of the album. Other tracks that have a similar displacement are “Hide Away,” “Cry (Remix),” and “Haters”; they just don’t seem to blend cohesively with the rest of the album. Though, “Cry (Remix) by itself is a pretty song. The tonality of these tracks don’t make sense.

Then there’s “Mr. James Dean.” Comparably, it gives a grunge-pop vibe description of a love who mimics that of a former cinematic star. Along “Underneath This Smile,” these two songs are both creative and intriguing in their own right. The first by its design, and the second by its vulnerability and relatability. Meanwhile, “Dangerous to Know” vocally peaks the interest through it’s verses, as has a haunting back-and-forth tempo. “Who’s That Girl” is probably my favorite track of the album. It is dramatic, shadowy, and lures the listener into their feels of either, the girl of someone Duff wishes to be or, a relationship gone off the tracks. “Shine” sings of coming out of the darkness from the help of that special someone to rely on, pulling you out of your hardest moments.

The rest of the record tends to fall right into place. “I Am” comes close to “Who’s That Girl?” for me. The song describes an individual as we all should be thought of, not just one dimensional. Most of us are gray. “I’m a million contradictions.” That lyric struck the biggest chord. The chorus then uplifts the artist to positive affirmations. A fun track, “The Getaway” makes its way zooming into the album and earbuds of the listener. It sings of a love conflict that throws their mind and heart into overdrive and reverse too frequently for Duff to figure out.

“Rock This World,” reminds me slightly of “Rock This Country” by Shania Twain. However, this is more of an in-your-face, self-confidence song that is sure to empower even today’s generation of growing teens and tweens. Then, comes the masterclass of “Someone’s Watching Over Me.” In having Hilary Duff portrayed as this Cinderella-styled princess star, the song magically sings of inspiration and perseverance with the help of a presence greater than herself. “Jericho” follows with a similar pattern of “The Getaway.” With a slight biblical connotation, the song highlights empowerment and fighting on when things seem most difficult. Not to give in just from exhaustion or doubt. “The Last Song” then wraps up in an elegant fashion, stating all the singer really needed was herself. But, coming off “Jericho,” the end leaves the listener patiently waiting for more.

Key tracks: “Who’s That Girl?,” “I Am,” and “Fly.”

Dignity

Enter, Hilary and her brunette era. 2007 was a bit of a rebirth for the artist as a full-fledged adult. At 19-20 years old, she unleashed a host of tracks that were fun, flirty, and fiery. Everything about the album, even the cover art was ablaze with a feel of passion, style, and elegance.

“Stranger” and “Dignity” lead off the album with an enticing combination of haunting pop and glitzy, glam, self-preservation call-out, respectively. The next track “With Love,” continues the feel-good, dance ensemble. The second single is a great way to get ready for any night out.

An interesting highlight comes from the middle of the album. “Danger,” plays out and is very captivating, and sounds a whole lot like a Kylie Minogue take-away. Who better to emulate than from a pop-princess herself in building her credentials as a music artist? The beats and encompassing sound of both”Danger and “Stranger” provide a worthy blend of escapism from reality into a whole new world. “Gypsy Woman” intriguingly finds its way in between two worthy contenders. And, while the beat is fun, the track itself leaves something lacking. Further, “Never Stop” plays out as an ode to commitment and genuine love of one another, leaving the listener wanting more and saving the day.

“No Work, All Play” is interesting because it gives off a very relaxed vibe and a tongue-in-cheek ‘high’ sound. But, it’s difficult to retain the listener’s interest as it’s comes off too relaxed and sleepy. To follow, “Between You and Me” uses a unique sound to initially kick listener into overdrive and wake them up. Additionally, the xylophone hints are a very nice touch to the island/middle-eastern feel of the record overall. “Dreamer” has a PSA undertone and sits as a mild track but, may be enjoyable to the select listener’s ear.

“Happy” and “Burned” follow up that somewhat mimic each other or share some similarity in sound. Both are very much worth a listen and can keep the listener’s attention to the end. Continuing, “Outside of You” is a return to hints of the teen-pop sound we all know and love from Duff; though in a mature fashion. “I Wish” keeps slightly with the Arabian theme, Hilary is wishing to be let in from the outside of the relationship. It reflects as continuation of sorts to “Outside of You.”

Finally, comes the very first single, “Play With Fire.” This track made the album literally light up in every way. It also is very creative in the fact that it differentiates from typical albums, having a more upbeat song to close out the album rather than a somber or darker song. “Play With Fire is a flirty, sexy, and fun way to close out the album.

Dignity provides so much maturity and relaxed enjoyment throughout the record. If you’re looking for an album to make time go by and your ears remain at attention, Dignity is that all-access pass to the star and her personal emotions.

Key Tracks: “Play With Fire,” “Danger,” and “Between You and Me.”

Breathe In. Breathe Out.

We’d thought we had seen the last of Hilary Duff, at least as far as music is concerned. A big surprise came about in 2015, 8 years later. In music, 3 years is an eternity; but with, it can be hard to gin up the same line of enthusiasm or recreate the same phenomenon, once held in a non-technical and social-media-driven world.

Breathe In. Breathe Out. starts off with the lead single, “Sparks.” The intro track was a perfect way to effectively draw in new and old listeners alike. Creating ‘sparks’ that she was back in business, Duff perfectly crafted a great marketing single to reignite the music scene. “My Kind” is a lighter track that follows. The entirety of the album is themed and threaded within a more peaceful, earthy tonality. Each track brings about a rejuvenation of Duff’s overall artistry and where she’s been rooted with Metamorphosis.

“One In A Million” continues the album, with the singer reclaiming her worth and her brand from a generations gone by. Embodying self confidence, the song offers a boost in self-confidence and comfortability. Feeling light as a feather and in a state of pure blissfulness, “Confetti” plays out as an emotional overload that exhilarates the singer and leaves her in constant desiring need for her other half to catch her. Meanwhile the title track, “Breathe In. Breathe Out.” slows the album just a bit to pour out raw emotion of the postpartum of a breakup. Its sleek and cool sound bridges the album in a way that doesn’t completely hinder the tempo or rate of the album.

Up next “Lies” has a good beat and sound maintained throughout but, feels like it’s the most out-of-place song on the record. Though it may be a break-up song, it’s repetitive bordering on filler. On the flip-side, “Arms Around a Memory” is a bold and enjoyable club song, proclaiming what’s done is done in one breath; but Duff is feeling a lingering, longing sense of desire for more than just memories and afterthoughts.

“Stay In Love” follows and is completely fresh. In what way? Well, most love songs are longing for someone or defiant in never going back without acknowledging there was any tangible love or history there. “Stay In Love” puts the message out there in owning and admitting that, sometimes if you just stay to stay, you’re only spiting both of yourselves from growth. “Brave Heart” continues along that same notion, with a message of self-confidence and can-do attitude. And even in doing it alone, recovering will be possible.

Coming up to my favorite track on the album, “Tattoo” is fiery and raw. Both the studio and acoustic versions give off a simplistic, clean feel in their sound, given its strong deliverance in messaging. In resolution, “Picture This” follows suit with a calm and soothing one-night-stand that the artist alludes to as a dream. To her, there is an escape from the past in this new love. Whether it lasts or is nothing more than a one-off, is to be determined but, she finds herself at peace for a time now in a long time. Finally, the album closes just as it started, and that’s surprisingly rare. It ends with a party mood, a night out. “Night Like This (feat. Kendall Schmidt),” allows the listener to break free of the heartstrings and heart ache woven through the album, and end on a high. Hilary Duff knows how to keep the crowd smiling at all times.

Within the deluxe version, “Chasing the Sun,” and “All About You” were two early singles, internationally but, not included in the USA deluxe edition. These songs unfortunately failed to highly chart. However, “All About You” laid out perfectly in rhythm and phrasing with the lyrics. It really is the highlight of the teaser/international singles. “Outlaw” and “Rebel Hearts” are the third and fourth respective deluxe singles but, initially they were unreleased in the USA.

So The Drama? Worth It? Up Next

Whether your team Tisdale or team Duff (just like the team Edward or team Jacob debacle), the article seems moot. Ashley Tisdale’s feelings may be valid and whatever had gone on, may or may not be accurate in claims, (“He Said, She Said”); it was certainly a great marketing tactic to put herself back in the spotlight. As an artist and actor she will be launching new shows or products, most notably her skincare line ‘Frenshe’ and the re-launch of the hit show, Phineas & Ferb.

Meanwhile Hilary Duff is launching her latest album, luck…or something out February 12. Additionally, she has been touring on a minor scale, and just recently announced a world tour at one of her latest live shows. Both women have so much to gain from publicity, and all press is good press when you are trying to drive a product or sales. So good for these two for keeping the claws pretty much at bay and their respective successes.

Both these women are nostalgic gold and pop princesses that can turn any bad day into a hairbrush concert. Let’s see how it all unfolds.