POST-DISNEY HILARY: Lizzie McGuire, meet Madonna.

However sexy she might look in hoop earrings and a pair of low-cut gold overalls, Duff acts the part of a punctiliously packaged pop star/teen role model. In front of an image of blue sky, she tells us that “Wake Up” is a song about “boys” and “girls” all over the world turning their backs on negativity. And her tabloid-trash routine reams wayward-rehab stars like Lindsay Lohan more than Pink’s “Stupid Girls.” But at the end of the set, when she stands atop the stage’s staircase and sighs — utterly defeated, it seems, by her own career — something strange happens. She performs two encores. After the first, the lights come on and she politely introduces her band. Cue the mom-and-daughter glow-stick exodus. But then the Pavilion grows dark again, and the band start to play in front of a fiery-red screen. Duff’s shadow writhes in front of the flame to the opening beat of her TRL-featured single, “Stranger.” Suddenly, she’s Lizzie McGuire cum Madonna — with purring vocals, but she doesn’t claw at the floor just yet. It’s the confusing former-Disney-teenage-female-pop-star battlefield, as in “Love Is a Battlefield” — and, yes, Duff does okay with Pat Benatar’s fist pumper too.