
Molly McNeal
The audience at the Whirlybird honky tonk.
For the past twenty years, a cultural movement has been unfolding in Opelousas, Louisiana, and at its center is the Whirlybird Compound—a fever dream of a place that honors the legendary Cajun, Zydeco, and honky tonk halls that once served as cultural hubs in Acadiana. Jim Phillips’ and Christy Leichty’s tribute to Louisiana’s rich musical heritage, which began as a kind of speakeasy-style secret dancehall, has evolved into a dynamic, multifaceted creative coalition. As a host of live performances, workshops, and an artist residency program, the Whirlybird offers a space for artists of all disciplines to connect and collaborate, re-imagining the communal role these venues once played when dance halls dotted the prairies. Its DIY ethos has created its own ecosystem, which will be bolstered by a new nonprofit status in 2025.

Molly McNeal
Bluesman and songwriter, Ray Bonneville at his January 3, 2024 performance at the Whirlybird.
A Honky Tonk is Born
The Whirlybird’s origin story begins on a San Francisco dance floor, where Philips and Leichty met. Phillips had founded a Montessori school in town, and later Leighty would join him there. But it was that first dance that sparked a lifelong collaboration steeped in a zeal for music and dancing, a passion that would eventually bring them to Louisiana.
“We both have always been outsiders in one way or another,” Phillips explained. “But when we met, we knew we had a shared vision. Our feet took us to different parts of the world, but it always felt like we were headed in the same direction.”
“We like to avoid too many rules. People come here because they value the hidden, underground nature of it. It’s purposeful, tied to the culture.” —Jim Phillips

Molly McNeal
The décor at the Whirlybird Compound
Their first Mardi Gras together in Louisiana was the catalyst for their decision to eventually move to Opelousas. Phillips recalls that they had also visited New Orleans, but the charm of the more rural parts of the state captivated them. “It was the sense of something real, something genuine,” Phillips said. “We just fell in love with it.”
In 2000, they took the plunge and bought property just outside Opelousas while they were still living in California—calling the place their “camp.” As they watched surrounding dance halls in the Acadiana area start to shut down, they started to joke about putting one in the yard. They moved full-time to Louisiana in 2006, and it didn’t take long before the manifestation came true, and the Whirlybird was born. The goal was to have a place where the community could come together to experience music and art. They envisioned it as an underground modern-day honky tonk—a place where the local culture could thrive in a contemporary way, all while remaining deeply rooted in tradition.
[Read this—Let's Go Dancin': The Evolution of Louisiana French Music Venues]

Molly McNeal
The namesake of the Whirlybird compound in Opelousas, Louisiana.
“In Louisiana, grassroots creativity flourishes in ways big cities can’t match,” said Leichty, who for many years acted as program director at the Lafayette community theatre Cité des Arts and today is a teacher in the Lafayette Parish School District.
In the early days of the South Louisiana Blackpot Festival & Cookoff in nearby Lafayette, word about the Whirlybird quickly spread among the festival’s performing musicians. The pre- and post-Blackpot jam sessions cemented its reputation. “That’s how it all started,” Phillips said.

Molly McNeal
The Whirlybird Compound in Opelousas, LA
More than a Place
Today, when you first reach the Whirlybird compound, it might feel as though you've wandered into a dream—a world that feels part whimsical, part grounded, and all hand-made. The grounds of the compound are large but secluded by forest. Rusted metal sculptures greet you on the lawn. More than just a haven for musicians, in the Whirlybird, Philips and Leichty have created a vibrant melting pot of creativity through musical performances, workshops, camps and retreats. The space brings together artists of every kind, spanning music, theater, visual arts, textile creation, and more.

Molly McNeal
The Whirlybird compound in Opelousas
The venue—with its multicolor lights, old warehouse pine floors that creak satisfyingly underfoot, and walls packed to the gills with music memorabilia, antique phones, photos, flags, lights, and posters —holds a rustic atmosphere that would be a set designer’s dream. Each décor item was thrifted or repurposed, and the place's namesake, a small personal helicopter, is at the center of it all.
Vintage-style campers provide the accommodations for the Whirlybird’s residency program, with themed rooms such as the “Kingdom of Zydeco,” and expansive outdoor spaces that invite collaboration and interaction. Yet, despite its sprawling nature, the compound retains a sense of intimacy, something intrinsic to Phillips’ and Leichty’s vision for a cultural sanctuary that is simultaneously wide-reaching and deeply personal. The space offers artists an opportunity to work on their craft in an inspiring, welcoming environment fostering creation.

Molly McNeal
The Whirlybird Compound
Out back, the Tower Art Gallery stands as the largest piece of folk art on display, crafted from found materials and countless windowpanes. Its winding, oblong corners mislead you into thinking you’re headed one way only to lead you to another. The Tower serves as a workshop, artist residency space, and a testament to Phillips’ craftsmanship. He built the stairs to the gallery from recycled wood and tin, and it's dotted with everything from band posters to shibori scarves. Light comes in easily from lifting ceilings, and a stained glass light bulb drives the point home.
“We like to avoid too many rules,” said Phillips. “People come here because they value the hidden, underground nature of it. It’s purposeful, tied to the culture.”

Molly McNeal
Christy Leichty and Jim Phillips, owners of the Whirlybird.
For the past three years, the Whirlybird has also hosted the Blown Away on the Bayou Blues and Harmonica Summit, an event that brings blues musicians together to connect and collaborate. The summit’s rapid evolution from a “what if we” idea between them and harmonica master Grant Dermody into reality highlights Leichty and Phillips’ knack for creating impactful programs at just the right moment—a talent they hope to expand as they transition into a nonprofit organization.
[Read this: Saturday Night at the Zydeco—Lakeview Park & Beach]
Looking forward to the new status in the coming year, Phillips and Leichty are eager to explore new opportunities for Whirlybird to support local artists. Through fundraising and grants, the couple has finally reached a point where they are able to commit to fair payment for their artists. “It’s a really important part of our mission,” Leichty said. “When we started, it was tough, but now it’s a priority. We’ve come a long way from where we started.”

Molly McNeal
The Whirlybird Compound is full of folk art by the owners and various other local artists.
With plans for a major overhaul of their digital platform, the couple hopes to bring even more attention to their work and attract new artists and audiences.
In addition to the residency programs and calendar of live music shows, the Whirlybird is working to expand its slate of workshops and classes. By providing more opportunities for learning, collaboration, and artistic development, Phillips and Leighty hope to create a sustainable future for the arts in Louisiana.

Molly McNeal
The Whirlybird Compound in Opelousas, Louisiana.
“We’re committed to providing more opportunities for young artists to connect with established artists, to create something new, and to continue to keep the creative spirit of this region alive,” Leichty said. “We do this because it’s beautiful and fun—a celebration of our humanity,”
“There’s nothing else like this place,” said Phillips.