Thank you for checking out The Industry According To. Every Thursday we speak with a different expert or leader from somewhere in the vast music industry — label executives, artist managers, programmers, talent, artists, consultants, and beyond. To be considered as a future guest, email Keith at keithblackboxgroup@gmail.com.
Today we’re joined by Raffaella Braun, newly named Co-President of Triple Tigers and Akando Music. She’s spent her highly decorated career developing artists, breaking records, and building careers — from brand-new voices to arena-level acts to household names. Across radio, touring, agency work, and promotion, she’s built one of the most complete résumés in the format. She’s guided artists to multiple #1s and broken Billboard records along the way.
Raffaella is widely regarded as one of the sharpest strategic minds in modern country music. She’s known for her ability to spot talent early, build momentum, and guide artists through the most competitive landscape the genre has ever seen. Alongside Annie Ortmeier, she helps steer one of the most forward-thinking teams in country music.
So, let’s dive in.
*Editor’s Note: Answers have been edited for clarity and length.*
The Hottest
Keith: Triple Tigers is part of one of the hottest artists in country right now — Ella Langley — with one of the longest running #1 hits in years. What does life inside a label look like when you’re carrying such a monster hit?
Raffaella: Ella is an absolute rocketship right now. Our label was crafted on the premise that FOCUS leads to results. Just last year, we held 4 weeks at #1. Two of those weeks were Russell Dickerson’s “Happen To Me,” one week was Scotty McCreery’s “Bottle Rockets” (with Hootie and the Blowfish), and one week for Ella’s “Weren’t For the Wind.” This year for Ella at country: “Choosin Texas,” “Be Her” and “I Can’t Love you Anymore” peak at #1 (so far). Meanwhile, we also have three other Triple Tigers artists and two other Akando artists on the Country Radio Chart at the moment.
Our team is absolutely the best. They know how to focus on multiple projects simultaneously. Consequently, it’s busy, but we know how to juggle. All cylinders must fire at once, and we have a pretty good track record of doing just that.
The 90 Day Circus
Keith: Ninety days ago you were VP of Promotion. Today you’re co-President. Describe how your focus and day-to-day has changed, and what has stayed the same?
Raffaella: I will always have a promotion mindset first at Triple Tigers. That’s where our team grew Scotty and Russell initially. Before I started, TT was the first independent label to have their first four singles go to #1 consecutively. From there, certifications began, and they started growing the artists in every possible way.
In the last 19 months, we successfully grew from two artists to eight across two teams. Additionally, we hired three new promotion executives for Akando last year and added VP of Promo, Chris Palmer, in the last 30 days. My focus remains the same, but now I get to hear new artist pitches. I learn more about the inner workings of a label. I collaborate more with the incredible marketing team. Finally, I get to intensify external relations.
The Chart Game
Keith: When you’re planning a launch, how much does radio airplay still matter? Give me the real number — 1-10 — and why?
Raffaella: I am biased AF, so I would say it’s a 10. However, there is an ongoing conversation with country artists. Specifically, artists who write their own songs debate whether they make more money with a radio hit or a streaming hit. A Top 20, Top 10, or #1 single may or may not change an artist’s career. But it does open doors for Song of the Year nominations. It increases booking rates. It creates critical mass for higher consumption.
Radio is still the best way to reach the largest audience consistently. Country radio is still an artist-driven format, versus a song-by-song format. Therefore, a hit may indicate a larger affinity for that artist. This could lead to future hits. The buy-in from radio cannot be underestimated. It’s not out of the ordinary for some stations to play 9 songs off an artist’s catalog in one week — not just the current single. The investment in country music is still substantial.
A&R in the No Patience Era
Keith: Artist development used to take years. Now it can happen in 90 days or a weekend on TikTok. From an A&R standpoint, what are the specific things you and Annie look for? What tells you, “We want this artist,” and what determines if they’ll need a long runway or just a few months to ramp up?
Raffaella: We have an A&R ‘committee’ at Triple Tigers. Kevin Herring, our head of Label Strategy, George Couri, Managing Partner, and Laura Hostelley, VP of Marketing join Annie and me for those decisions. This ensures we consider everything. We look at fan engagement and acquisition. We evaluate who is listening and where. We identify whether there is a clear radio single. We assess what the overall project would look like.
Then, Annie and Laura start strategizing. They put songs out at DSPs. They plan release schedules. To date, we don’t have an artist known for just one viral moment. Admittedly, we wouldn’t turn one down. However, we have created a strategic and slow build with all the artists we currently represent.
Why Triple Tigers
Keith: A lot of new artists now wonder if they even need a label. What’s your 30-second pitch for why Triple Tigers is the right home base?
Raffaella: If you want a supportive family to take you from zero to sixty, that would be us. In the 10 years of Triple Tigers’ existence, we have peaked 23 records at Country Radio. Specifically, 17 of those are #1s. One peaked at 2. One peaked at 10. Consequently, we have 30+ Gold, Platinum, or Multi-Platinum Certifications.
Laura Hostelley (VP, Marketing) was employee #1 at the label in 2016. We are passionate about music and invested in our people, including the staff. The fact that we all want to be in the small rowboat (of 15) together should show any artist how much we fight for our people. Our size allows us to listen intently to artists’ needs. We pivot on strategy when necessary.
It’s A Team Sport
Keith: You work with artists, managers, agents, publicists, publishers, radio, DSPs, and promoters. What’s the most underrated relationship in an artist’s career? What relationship does more than anyone realizes?
Raffaella: I have to say the most important relationship an artist has is with their fans. Fans don’t just consume music — they validate it. They reinterpret it. They ultimately determine an artist’s cultural staying power. Their relationship is underrated. It’s often viewed as an outcome of success. Yet, it’s actually an ongoing asset that actively shapes success. This holds true long after an album release or a #1 peak.
The industry at large can all offer our varying opinions. We have to work together. We develop the artist’s visible career tentpoles. Ultimately, we should all have the same percentage investment. We build the audience for an artist. Whether it’s on the road, with brand partnerships, or through songs themselves matters equally.
The Dilemma
Keith: A new artist’s music lands on your desk. You love it, but they’re nowhere. They have no social following. They have no real fan base. They don’t even have a full band. Your heart says yes, but your co-President brain says no. Which wins? What do you do?
Raffaella: Great question. We talk about this in our committee meetings. Metrics are important for sure — they help indicate the appetite and present growth for music. But ultimately, our passion for the music itself always wins out. That’s one of the things that makes us special — we haven’t jumped on anything just because of one or two metrics.
Do we feel that we can get behind a song? Does it move us? Does it elicit emotion? That’s what makes us want to be in the foxhole with someone. Ultimately, that’s what drives our decision-making at the end of the day.
Country Artists Work Hard
Keith: It seems country artists work harder than anyone — fan relationships, radio support, shaking hands and kissing babies — doing the leg work. Why is that? Why does this genre seem to value the grind more than others?
Raffaella: Country music is really special. The community that surrounds it is equally special. It stems from the emphasis placed on storywriting. This emphasis goes back through the annals of its history, back to Appalachia and the Carter Family. It goes back even further than that. The authenticity of the music lends itself to success. However, success is earned through consistency, visibility, and community. Rather than sudden moments of virality, success develops over time.
For this reason, the audience here remembers the shared experience. They recall seeing artists at early venues. They remember the opening act slots. They recall the writers’ nights. They remember the state fairs, fan fests, radio events, and bar nights. These were moments where artists were grounded and accessible.
On the agent side, promotion side, and label side, I’ve seen tons of this genre acquire their tastes. Specifically, they get their tastes from friends, family, radio DJs, and people with shared experiences. Rather than relying on just one algorithm alone, people seek out personal connections. Part of the grind is that the work doesn’t stop when an artist gets famous. Conversely, it evolves into maintaining the community trust they’ve earned. This trust might be built over years or decades.
Turnpike Troubadours
Keith: Turnpike sells out everywhere without chasing mainstream attention. What’s the secret here? What are they doing that other newer-ish artists are missing?
Raffaella: Our Akando partnership with Turnpike was really exciting. First and foremost, I’ve been a fan for a really long time. I’ve been to their shows — experiences I call them — with best friends and fellow enthusiasts over the years.
Until last year, they hadn’t dipped their toe into the mainstream country radio world. But they wanted to do so. However, not to build the ‘celebrity spectacle.’ Rather, they wanted to invite more people into their community. They don’t overexpose themselves with social media or interviews. Consequently, the partnership was based around the song itself — “Heaven Passing Through.” This song continues to be a fan favorite at shows. It’s a key track from “The Price of Admission” album. That album is now over a year old.
Programmers that we brought to the shows had wide eyes. It was fun to see them embrace something new. Even if it wasn’t new to the greater audience, their enthusiasm was genuine.
The Crisis Fix
Keith: With years in promotion, you’ve learned to solve problems. What’s the biggest crisis you had to fix — funny, scary, whatever — and how’d you pull it off?
Raffaella: That is universal. From a jock teasing an interview or a show that doesn’t happen, to a live show being cancelled for weather minutes before it starts with a full house. To having a show (as a rep) and missing a flight to get there — crisis management is constant.
In radio, I think you all talk about the nightmare of dead air. Something happens to the tape cart. We have to be prepared for the unexpected. In music, like any other art form, we have to roll with the fact that we are all human. Sometimes ‘life be life-ing.’
The Future of Country
Keith: Country is evolving fast — sonically, culturally, visually. Do you see more shifts coming that people may not see coming?
Raffaella: When I moved to Nashville in 1998 to attend Vanderbilt, I swore I would never listen to country music. Coming from New Jersey, it somehow seemed un-hip, antiquated, and hokey to a ‘worldly 18-year-old like myself.’ Insert laughter. I soon realized it was all my roommate and hallmates listened to. We shared the experiences of Dixie Chicks and Shania concerts at Bridgestone. We sang at Lonnie’s Western Room. We emoted to heartbreak songs.
I think the evolution happening now is part of the wider world of change — short-form video, AI, Reels, and TikTok scrolling. Country artists have embraced it. Have you ever seen Shane Profitt or Ian Munsick’s IG accounts? Priceless. Their personalities are as engaging as their music. Just look at how touched the entire world is by Dolly Parton’s passing. That should tell us all we need to know. Country’s reach in 2026 is vastly different from the past.
The Blank Slate
Keith: Say anything you want to any corner of the music industry. What do you want them to hear?
Raffaella: We have to start talking more. We must continue preserving the culture that made the music business unique in the first place. Trends are cyclical. When I was in the trainee program at CAA, we did a project with a large toy retailer. Bringing back big toy brands like Battleship was important. The kids who grew up playing Battleship wanted to show their kids how to play it.
While we grow into new ages of technology and cultural shifts, we should still have the passion for music. Remember the passion that demanded “I want my MTV,” “Kasey Kasem’s Countdown,” and got us industry folks desperately wanting to work in music in the first place? That passion matters. I know burnout is real. Embracing technology is challenging. Finding new methods is difficult. However, we have to talk more about methodology, intelligence, and our shared experiences.
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