The albums and related merchandise were distributed by volunteers who were assembled into various groups to travel together and stage free live performances of selected works.

A number of prominent contemporary Christian performing artists were connected to the organization either as former group members or publicity namesakes, including Sandi Patti,[6] Wayne Watson,[7] Amy Grant,[8] Steve Taylor,[8] Chuck Bolte,[9] and One Bad Pig's Paul Q-Pek.

Tours stopped at a new venue every one to two days, which primarily consisted of Protestant churches in the United States or locally organized events such as county fairs.

Group members tended to be young adults or youth who committed to a five- to seven-week schedule, preceded by a one-week "rehearsal camp" focused on practicing the performance and making other tour preparations.

Groups usually consisted of 15 to 20 volunteer singers, musicians, actors, and/or dancers; one or two audio and lighting technicians; a bus driver; and three or four accompanying adult leaders who were responsible for day-to-day supervision and administrative tasks.

To better connect with audiences and reduce costs, group leaders would try to secure members with overnight rooming from families and individuals affiliated with the tour stop's local sponsor/venue.

[16][17][18] During his work in Portland, Floria organized a five-week tour for the choir with a final stop at the choral competition at the Winona Lake Bible Conference in the summer of 1963.

The free performances were welcomed and well received at tour stop locations, and like-minded audience members sought to either join a Continentals group or start similar programs.

[26] In the early 1970s, the Continentals collaborated with affiliated groups New Hope and Jeremiah People,[27] to produce three musicals It's Getting Late,[28] The Apostle,[29] and Share.

In 1975, Floria started organizing an annual week-long conference called Seminar in the Rockies[b][36] which consisted of workshops held by Christian music and other professionals.

The conference was abundantly attended by both established and hopeful industry participants and helped Floria maintain the Continentals' relevance in Christian music, which grew significantly during the 1980s and 1990s.

"[47] Other factors may have included the steady decline in church membership in the United States;[48] the Continentals' lack of digital music delivery;[c] an increase in the quantity and variety of Christian music to which consumers had access;[50] a preference by Millennials and Post-Millennials to reside near large cities[51] that offer more opportunities to attend free live performances; and expanding metropolitan populations[52] in which young adults and youth have more outlets for creative expression (compared to the rural areas that many Continentals tours historically frequented).