Gwen Stefani, “Bouquet.”

Gwen Stefani turns over a new leaf, or petal, on her fifth solo album, Bouquet. Known for her work in ska-punk with No Doubt and later pop, she’s been a bonafide hitmaker for decades. But this album plays a very different tone.

Bouquet isn’t about synths or loops—the way modern pop has been heading for years—but is far more organic. It feels more more mature; even, at times, folky. Judging by the cowboy hat she wears on the cover, you might presume it will be influenced by country, but that doesn’t really tell the whole story.

Bouquet draws on a range of sounds, from Americana to ‘90s pop-rock and ‘70s rock. With her unique and instantly recognizable voice, it’s not really any of those things.

What makes the album refreshing is how Gwen Stefani keeps her identity rather than trying to become someone else. While the songs may not be like today’s pop hits, they sound like her. Whether hubby Blake Shelton’s influence rubbed off at all is another question, but it would seem he had at least a little influence.

Stefani pulls no punches on opener “Somebody Else’s,” which seems to put former husband and Bush frontman Gavin Rossdale on blast.

“Leavin’ you saved me, my God/ Look at me blossom/ You’re somebody else’s problem,” she sings.

Despite the pointed lyrics, the overall message is actually one of hope and recovery from a difficult circumstance. It’s upbeat and fuses acoustic and electric guitars with a Fleetwood-Mac-esque quality. Far more hopeful is the title track, which has a little a Southern charm and swagger, though it’s not a full-on country song.

Keeping with the optimistic tone, “Pretty” sticks with the acoustic-driven Americana sound. The lyrics are pretty straightforward, but the simple yet effective hook has an infectious quality.

“I never felt pretty ’til you loved me/ But now I feel pretty lucky,” she sings.

On the quieter “Empty Vase,” Stefani’s delivery is subdued and intricate. Lyrically, she weaves in flower imagery throughout the record, continuing that here as well as on the following track, “Marigolds.” The latter has a ‘90s pop-rock energy and an acoustic-driven bounce. It’s a quick and punchy track that restores the upbeat momentum. Similarly, “Late to Bloom” adds a dose of a country kick to it.

Power ballad “Swallow My Tears” offers an interesting fusion of the more organic sound with a throwback vocal delivery and lyrical style that calls back to some of Stefani’s prior solo work.

“I stay one step ahead of the pain/ I keep an umbrella when there’s no rain/ I got my guard up when there’s no war/ Don’t know what I’m fighting for,” an introspective Stefani sings.

Acoustic ballad “Reminders” is, at least musically, the most traditional country song here, with a warm vocal tone. The final two songs on the album, “All Your Fault” and “Purple Irises,” may be the best of the bunch. Both capture a pop-rock personality with big choruses and add a touch of folkiness. They’re memorable, with big harmonies and a dynamic melody. Shelton makes an appearance on “Purple Irises,” and his voice complements hers.

Bouquet is a more mature turn for Stefani, and the sound may take longtime fans by surprise. Stefani seems to be comfortable in this space. It’s an album not defined by pop bangers, opting to give Stefani the space to spread her wings.

Follow writer Mike DeWald at Twitter.com/mike_dewald.