In 1927, an idea that would revolutionize the performing arts in America sprang up simultaneously in the Great Lakes region and in several Eastern states. Communities that struggled to make up deficits after hiring performers, decided to raise money first and then bring arts to their audiences. This principle of raising funds to secure a season in advance of contracting grew into the organized audience plan and ultimately Community Concerts, the largest, most enduring network of performing arts presenters that has ever existed.

Once money-raising problems were solved, families and individuals who did not previously belong to the sponsoring organization – usually women’s clubs – were now attracted to an entire season of a variety of entertainment at a very reasonable price. People who had never attended highbrow concerts before were being invited by people they knew who were just ordinary folks who lived in their neighborhoods, went to their churches, and whose children attended schools with their own children. An added benefit of this groundswell of arts appreciation was the germination and growth of local symphonies, theater and dance companies that now flourish in all parts of the country.

The stock market crash of 1929 plunged America into its darkest economic period ever. At the time of the crash there were 42 Community Concert Associations in America and by 1940 there were 335. Redmond Community Concert Association (RCCA) organized in 1983-84. Undaunted by economic deprivation, communities would not allow the beauty and meaning of live performance to be taken away. It was obvious that concerts were more than mere entertainment; they were the lifeline to humanity, sanity, and normalcy. Food for the soul was as important as food on the table, and even the Great Depression could not stop the growth of Community Concerts.

The managers of Columbia Artists Management, Inc. adopted Community Concerts in the 1930’s. With Columbia Artists’ impressive roster of artists and attractions, the success of Community Concerts was assured. “A Carnegie Hall in Every Town” became the company’s proud slogan and soon the world’s greatest artists graced the stage of the affiliated associations, even in the smallest towns.

After more than six decades Community Concerts began to dissolve its relationship with Columbia Artists Management, Inc. allowing Community Concerts to operate more independently. Autonomy allowed for rapid adjustment in an age of competition from television and radio, competing performing arts presenters, changing life styles, and rapid transportation to metropolitan centers with their larger venues of arts and artists. The traditional organized audience associations managed by local volunteers is still at the heart of Community Concert business.

Columbia Artists Management sold the Community Concert business to Brenda Trawick in 1999 and the name changed to Trawick Artists Community Concerts. Trawick financially collapsed in January, 2003. Soon Live on Stage came on the scene and now Community Concerts continues in the same vein as it had in the past when it was part of Columbia Artists Management, Inc. RCCA, however, has chosen to act on its own behalf, booking directly with agents and artists.