Madonna’s sass and Windham Hill’s sweetness aren’t likely bedfellows, but Windham Hill guitarist Michael Hedges will bring the styles together in his newly completed version of “Lucky Star.” He hopes to play the song on April 14, when he performs a solo concert at the Maine Center for the Arts, which, he says, is one of his favorite places to play.

The hall is one of the larger venues on Hedges current tour, one of the two month-long tours he will do this year. But the larger stage doesn’t affect the way he deals with an audience.

“I just try to act like I always act,” says Hedges, 39, of his onstage personality. “I try to make each composition be a new form, each different from one another.”

Hedges tries to achieve a “dream-like state” when he performs, one that whisks the audience into the essence of his spontaneous creativity. He rehearses enough to keep his work technically acceptable, but infuses the concert with his own in-the-moment groove to the music.

Strange tunings, finger taps, and entrancing tunes have made Hedges one of the most popular solo guitarists in the business. Last year, Guitar Player magazine put him in a list of 25 guitarists “who shook the world.” Additionally, his compositions on “autobiographical myths” have won him a particularly happy following among new agers.

But lest he be mistaken for a new-age musician, Hedges has given his style of playing its own name. He used to call it “wacka-wacka guitar,” but since recent forays into Chinese energy and yoga, he has called it “contortion guitar” or “marshall-arts guitar.”

Not that he doesn’t play new age, he explains. He just plays a lot of other kinds of music, too, and doesn’t want to be pigeonholed. One reviewer even called Hedges “post-20th century,” presumably to suggest the guitarist is ahead of the times.

Hedges rejected that label, too.

The music is simply the music, he says sweepingly, and adds, “If I could do it with words, I’d be a writer.”

“Loner” is the only label with which Hedges seems completely comfortable. It is one that has followed him around since he was a child, the eldest of four in a family from the small, conservative town of Enid, Okla. His father, a professor of speech pathology, would take the young Michael to work with him, and the boy would sit in a soundproof room, intoxicated by the unusual sense of space and sound.

“The whole concept of space changing internally is a very spiritual feeling,” says Hedges reflectively. “I’ve always been interested in that, and I wonder if that’s where it started back in Oklahoma in a room to test peoples’ hearing.”

When he wasn’t at the clinic, Hedges heard some other incredible sounds, this time made by a new group called the Beatles, and, later, “Tommy,” the rock opera by The Who.

“I spent most of my time in the basement or in the attic with a record player,” he says. “I identified with Tommy — not the mistreatment or trauma, but the sense of isolation. When I’d go to the park with friends, I’d go off in the bushes to listen to music in my head. I used to sit and think, but I was really composing.”

As a young adult, Hedges studied flute, composition, and acoustics at Phillips University in Oklahoma, and went on to Peabody Institute in Baltimore. He left the East Coast in a Volkswagen van, married his sweetheart, began studying computer music at Stanford University, and got a gig at the club in Palo Alto, Calif.

That’s where Will Ackerman, founder of Windham Hill, heard him in 1981, and offered him a recording deal which turned into Hedges’ first release “Breakfast in the Field.” His next recording, “Aerial Boundaries,” was nominated for a Grammy.

These days, Hedges still spends most of his time alone. After seven years of marriage and two children, he and his wife divorced.

“She married my manager,” he says, “and we all still work together. I just tell people we’ve changed the sleeping arrangements.”

At his studio in Northern California, he is in his element as a musician. He often has insisted that he is “a composer who plays guitar, not a guitarist who plays compositions.”

He sees his 9- and 6-year-old sons nearly every day — they live on the same property where the studio is located — and he has a new girlfriend, Brigette.

“I’m falling in love again,” he confides, but his voice is strained. The music is really what is on his mind.

In a strong and monotonic voice, he reveals the lyrics to a new song inspired by Barry Gibb: “The road to return. Throwing colors to the air, I follow the breeze painting a mural of dreams. I’m on the road to return. I’m on this road to return.”

And he goes on to talk about his concert again: playing his original tunes, a few covers by Neil Young or Bob Dylan, and a flute piece he plays to a prerecording of a guitar solo played backwards.

“The music is in itself a message,” he explains. “Let’s have a good time. Get together and communicate.”

Michael Hedges will perform 7 p.m. April 14 at the Maine Center