What Lewis does now, the music she makes, is hard to characterize. She is often compared with Joni Mitchell and Emmylou Harris, and there is a kind of timelessness to the way she writes and sings. But the throwback stuff doesn’t quite capture her. Among some music fans — including many other well-known musicians — Lewis is considered a kind of indie goddess, a stylish performer who defies genre and salts her songs with a sly and off-kilter intelligence. Her first band, Rilo Kiley, signed a major-label deal with Warner Bros. Records in 2005; her first side project, the Postal Service, led by Ben Gibbard of Death Cab for Cutie, sold more than a million copies of its debut; and she has released two well-received solo records since then. Next week, she will release a third, “The Voyager,” her first solo effort in six years. It has been a battle to get it out. Among other things, she has dealt with the death of her father, writer’s block and bouts of insomnia so severe and debilitating that she said they left her almost unable to function for nearly two years.

You’d never guess that from meeting her, though. She talks like a true child of L.A. — the “bro"s and “dude"s flow freely, without affectation — and her go-to traveling costume is a vintage Adidas track suit, Adidas shell-top sneakers and, on the day I first met her, hot-pink lipstick and oversize sunglasses. She lives with her longtime boyfriend and collaborator, the musician Johnathan Rice, up a long canyon road in the hills that separate the San Fernando Valley from downtown Los Angeles. Her house (called “Mint Chip” for its brown-and-light-green exterior) is set into the hillside, looking out over a ravine. There is a rehearsal space with a drum kit, a P.A. and some vintage gear, an old piano in the living room and a vinyl edition of James Taylor’s “Sweet Baby James” propped up beside the fireplace. Beyond the small pool in the back yard there’s a windowed gazebo that Rice uses as his songwriting space. Whatever you are imagining of the California light and the laid-back lifestyle: yes.

Image Lewis at 13 in 1989, the year she starred in "The Wizard" and "Troop Beverly Hills." Credit... Michael Ochs Archives/Getty Images

Historically, nearby Laurel Canyon has been synonymous with a certain kind of lush ‘60s acoustic-and-multipart-harmony sound, but Lewis’s musical roots spring from the ‘90s and the smart indie rock of Elliott Smith and Pavement. When she was 20 or so, her acting career wasn’t where she wanted it to be, and she saw that she needed to make a change. “I was the best friend,” she said. “I was the friend, forever. I wanted the big, juicy roles, and they didn’t come to me.” (She read for the part of Bunny in the Coen brothers’ film “The Big Lebowski,” for one, but didn’t get it.) She had known Blake Sennett, another former child actor, since she was 17, and they began writing together and eventually formed Rilo Kiley.

She and Sennett dated and broke up and kept playing together. The relationship was always fraught (Gibbard remembers Lewis screaming at Sennett over the phone during the first Postal Service tour), but Lewis said it gave her the confidence she needed to become a real songwriter. “Through my partnership with Blake, I found a voice within myself that I didn’t know I had,” she said. “It sounds kind of cheesy, but I figured out who I was.” From the first lines of the first song on Rilo Kiley’s debut record, a track called “Go Ahead,” you can hear the DNA of the musician Lewis has become nearly 15 years later — a floating, distinct voice, an unpredictable melody, a wryly subverted rhyme.