banned by the SABC, although the song "Hou my vas Korporaal" would become an anthem for the anti-conscription movement. In its time it was utterly new, inspiring "alternative Afrikaner" performers like Johannes Kerkorrel and Koos Kombuis who would spearhead the Voëlvry boerepunk movement some years later. James was invited to join the Voëlvry bandwagon for a successful if the controversial, tour of the country in 1989. 1989 saw the controversial Voëlvry Tour which featured musicians who sang in Afrikaans and had been inspired by the Bernoldus Niemand album. Phillips and an expanded Lurchers line-up were added to the Voëlvry bill under the name "Bernoldus Niemand en die Swart Gevaar". Phillips had always regarded the Niemand alter-ego as a side project and had abandoned the songs on the Niemand album. He was now performing to the biggest audience of his career, but under another name and singing songs that he no longer considered part of his repertoire. Phillips and the Lurchers continued to evolve and maintained a reputation as a compelling live act. By the early 1990s, Phillips was concentrating on the piano rather than the guitar and his compositions became more sophisticated. His lyrics were sometimes more personal, but other songs showed that he continued to remain relevant and vital even as South Africa moved towards democracy – a transition which had left some of Phillips's contemporaries with little to say. In 1994 he released the Sunny Skies album – recorded with an enlarged band that featured a horn section and several highly regarded guest players. Once again the album was released by Shifty, but a deal was negotiated by which BMG Music would undertake promotion and distribution. Despite BMG's efforts (allegedly hamstrung by Phillips's disinclination towards promotional work), sales remained poor. In the same year, Phillips stood in South Africa's first democratic election as a candidate for the eccentric Soccer Party. Phillips summed up his optimism about the New South Africa when he said "Hopefully now we can start to like ourselves, and start to like our music". His music now reflected his hopes for the new dispensation, and the dark and angry words of the 80s were replaced with songs of optimism like "Why Can't We (Love one another), '(I Want the World too) Start Again' and "Tabane" (a tribute to Malombo's Phillip Tabane). During this time, his passion for the local experience did not restrict itself to