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Melissa Ferrick could blow her own horn quite well _ a flugelhorn to be exact _ if she chose. Instead, she expresses her creative spirit with an acoustic guitar.

Since the early 1990s, the accomplished singer-songwriter from New England has compiled a solid string of sonically strong, lyrically rich studio albums.

Her widely praised 2006 album "In the Eyes of Strangers" fulfilled the rock 'n' roll essence that Ferrick has long harbored and drawn inspiration. But just when it seemed she would take a hard plunge into a more layered, instrumentally diverse sound, she returned to the studio to produce perhaps her most intimate, stripped-down album to date, her ninth studio effort "Goodbye Youth."

Laid down in a single day during her near-constant tour schedule, "Goodbye Youth," marks a departure from the music she wrote and arranged with a team of accomplished musicians on her previous effort. Yet, the new album retains the pure Ferrick trademark: An endearing, emotionally honest first-person lyrical approach driven by her dynamic acoustic sound.

A veteran of the acoustic narrative tradition, Ferrick's musical journey actually started in a different vein _ as a brass musician.

After studying horn music at the renowned Berklee College of Music in Boston, Mass., Ferrick set out on her own. But her instrument focus had changed. Rather than pursue a career as a flugelhorn musician, she turned to the acoustic guitar.

In 1991, she landed a last-second addition as a support act for Morrissey. This first big break not only led to more dates with the popular British rock crooner, but also laid the foundation for Ferrick's reputation as a dynamic live act. A recording contract with Atlantic Records followed in 1993, as did her debut album, "Massive Blur." The album garnered glowing reviews, as did her sophomore effort two years later, "Willing to Wait."

Although she enjoyed success with Atlantic, Ferrick elected to go in another direction in the wake of "Willing to Wait." She released five studio albums and four live albums as an Indie artist over the next 12 years. Her second live album during this period, "Live at the B.P.C." (2000), marked the first release on her personal label, Right on Records.

Often described as folk singer, Ferrick's inspiration flows from a love of rock..n' roll. During her impassioned live performances for instance, she'll occasionally crack out a Zeppelin-style riff or tinker with a little Red Hot Chili Peppers vocal improvisation. These touches however, only sharpen the intensity of her wildly popular live shows.

A desire to explore a rock vibe has crept more into Ferrick's music in recent years. "The Other Side," released in 2004, exhibited a distinct sonic charge that grew with organic force into a captivating bolt of energy on "In the Eyes of Strangers." The decision though to dial back the sound on "Goodbye Youth" though, didn't leave the thrust in the dust. In a stroke of musical mastery, Ferrick channeled her rock spirit into a fresh acoustic idiom, which she navigated with tactical beauty with the assistance of engineer Scott Norton.

Ferrick ranks among an elite group of female guitarists who'll brave the stage alone, and leave it with the house cheering for more.

Some of the biggest names in folk-rock-pop music, such as Ani DiFranco, PJ Harvey, Neko Case and Liz Phair, have tackled standing under the spotlight alone at one time or another during their illustrious careers. The same can be said for Ferrick _ except for one notable difference. She has made it something of a signature to go before her audiences armed with only her guitar and a set list. Since the end of her "Eyes of Strangers" tour in mid 2007, for example, Ferrick has taken to the stage solo, headlining and playing countless venues coast to coast for more than a year.

How has Ferrick's shift in creative focus and new music played out in recent months?

During her most recent appearances, including a reunion gig with Ani DiFranco outside Washington, DC in July 2008 (Ferrick toured extensively with DiFranco in late 2007), she featured several new numbers from "Goodbye Youth," including her tender yet playful "Hypocrite" and "John's Field," wrapping her audiences in an indelible melodic embrace that resulted in nightly standing ovations.

With the release of "Goodbye Youth," Ferrick's fan base and will certainly continue to expand, and fuel the enthusiasm for her music _ and further drive the passion she brings to her live shows.