Long gone are the days when music was intended as nothing more than a distraction from the harsh realities of the world and the singer-songwriter was served as a mere accompaniment to diners and drinkers the world over. The era of the idealistic poet has come again. Their self-appointed task: to translate the pressing issues of the day into a pleasingly melodic form, attaining god-like status amongst a generation of students and political malcontents along the way, thus following in the footsteps of their forefathers, Dylan, Lennon et al.

Clichés aside, politics is increasingly finding a voice through the music of the singer-songwriter. Long regarded as one of the more lyrically advanced and reflective factions of the musical spectrum, this shift towards political expression is perhaps inevitable. We're not talking 90-minute manifesto-propounding opuses, but a gentle reminder of the outside world tucked amicably alongside stories of broken hearts and lost love. Neither is this trend affecting only underground music, which has always acted as a mouthpiece for the nations political views, or protest stalwarts such as Billy Bragg, but encompasses some of the most successful artists of today.

It seems it is becoming increasingly necessary for popular musicians, particularly in America, to offer some sort of political view. Dave Matthews famously denounced the Iraqi war in an open letter published on his website stating: 'It is criminal to put our servicemen and women in harm's way and to put the lives of so many civilians on the line for the misguided frustrations of the Bush administration'.

Harking back to when music and politics collided post-Vietnam, increasing numbers of artists classified under the umbrella term 'singer-songwriter' are showing an interest in political expression. Artists such as Rufus Wainwright and Steve Earle have long upheld this but more and more are starting to see politics as a viable lyrical theme.

Consider the current darling of British pop music, soldier turned crooner James Blunt. He is as commercially viable as it is possible to be, and yet alongside songs like 'Beautiful' sit lyrics describing war atrocities ('Brothers lie in shallow graves. Fathers lost without a trace. A nation blind to their disgrace, since he's been here'), from a song he wrote in Kosovo. What is remarkable, however, is that hoards of wide-eyed teenage girls and Heart FM junkies are inadvertently enjoying political music as they happily sing along to Blunty on their car stereo.

Another radio friendly artist, Ben Folds, best known for the cartoon punk/pop of Ben Folds Five, chose to release 'Jesus Land' from his most recent album 'Songs for Silverman'. A plaintive look at the culture of modern America, the song reflects Folds' thoughts 'on some of the shitty things that are happening in the States at the moment'. An unusual choice for a single some would say, but testament to the need for expression that is ensnaring so many musicians in the atmosphere created by 9-11 and the Iraqi war.

Ben Harper, too. He of the silky smooth vocals, funk-laden guitars and surfer dude mentality, and yet his newly released album 'Both Sides of the Gun' is also of a political disposition. Songs with titles such as 'Please Don't Talk About Murder While I'm Eating' make their intentions clear, while 'Black Rain' addresses the specific issue of the devastation caused by Hurricane Katrina in New Orleans. Harper goes some way towards explaining this rejuvenation in political music: 'if there's no justice in day-to-day living there's for damn sure gonna be some justice in my music' he claims.

Even artists established in different genres have recognised 'acoustic' style music as the appropriate medium through which to air their social concerns. Tom Morello, Rage Against the Machine and Audioslave guitarist, is less well known for his work as a singer songwriter, performing under the alias 'The Nightwatchman'. In his words: 'my political folk alter-ego'. Fiercely political but gentle on the ear, The Nightwatchman is an extreme example, but representative nevertheless of the general trend of reflective, acoustic music playing hardball.

Where, then, is this going to go? Are we witnessing the virgin explorations into new exciting territory that will culminate with a musical revolution that pulls politics into the very heart of commercial music? Unlikely. However, the singer-songwriter genre has proven never to go out of fashion, and as it increasingly embraces modern issues as lyrical material, music, politics and success could yet prove to be a comfortable fit.