At this time of year, the activity of an independent wine merchant has the quality of a time lapse in a David Attenborough documentary.
The judges met last week to sort out the winners in the independent categories of our 2018 Drinks Retailing Awards. The results are top secret until the awards dinner on February 6 but it’s giving nothing away to report that the overall standard of those that will be revealed in the shortlist of finalists in the January issue of DRN is higher than it’s ever been.
In the not-too-distant future, when all humans are born with inbuilt VR headsets and Trump is Supreme Commander of the Known Universe, how will students of wine look back on the present era of retail in the UK? And, in such a dystopian world, why would anyone care?
An enthusiastic wine drinker finding themselves a fly on the wall at a trade-only tasting would undoubtedly be surprised by how serious everyone looks. Within the trade, we regularly hear from customers how nice it must be to spend at least part of the working day tasting wine. Although it’s hard to put it on the same level as moving furniture or reconciling accounts, tasting is nonetheless work that requires stamina, discipline and concentration, hence the scribbling and frowns.
I am fed-up with politicians and academics with an agenda endlessly repeating the same old anti-alcohol tropes – usually without having the faintest idea about where they came from or whether they are true. I recently heard a minister (who must remain nameless because the meeting at which he spoke was under Chatham House rules) repeat that old canard that “minimum pricing is justified because alcohol is being sold at pocket money prices, often cheaper than water”. Now, maybe Tesco’s cheapest “everyday lager” has been sold for less than the most expensive bottle of Perrier, but the idea that supermarket shelves are stacked with booze that is cheaper than water is just nonsense. I asked the minister could he give us even one example of this and he couldn’t. What is true is that certain brands of bottled water are outrageously expensive. Just saying!
Perpetual motion machines are scientifically impossible, but that doesn’t stop people believing in them. As usual, the internet provides a happy home for such nut-jobs, for whom scientific impossibility is just another government conspiracy, man. Hence the abundance of blogs purporting to prove that perpetual motion machines are, like, totally real, and that the Large Hadron Collider is actually a stargate to a new cosmic wormhole. I’m not making this up, by the way.
Some drinks have such immaculate branding behind them that it's hard not to believe there's some mastermind behind it, a strategic genius of such infinite subtlety that their work is apparent everywhere and yet utterly untraceable.
The arrival of October means that we’re now officially in Nielsen’s Christmas trading period. Manufacturers and retailers alike have until December 30 to optimise their sales plans and activate them in-store in order to win at Christmas.
When Bordeaux was in fashion, it seemed almost logical that we should fetishise winemakers. Here were people responsible for brilliant acts of blending, across large estates and multiple grape varieties, including superstars such as cabernet sauvignon and merlot. These days, fashion has moved on and pinot noir is ascendant. As a result, the star of the winemaker has fallen and we find ourselves following a new star in the sky: terroir.
One of the most fascinating stories in wine, fit to stand alongside the Judgement of Paris, is that of Rudy Kurniawan, a man who managed to fool friends, auction houses and experts into believing they were drinking some of the world’s most expensive wines.
Last week columnist Guy Woodward launched a quite extraordinary rant in our sister title, Harpers, in which he railed against the Scotch Whisky Association and argued in favour of minimum unit pricing. He called the SWA “shabby” for fighting MUP and threw his weight behind the anti-alcohol lobby. The basis for his argument was a press release put out by the neo-prohibitionist brigade and he bought its claims hook, line and sinker, without holding them up to the scrutiny they deserve.
Discovering this new interest has reminded me of what I first found fascinating about wine. The longer we spend in the industry, the more jaded we can become. What often starts out as an enthusiastic passion decays into cynicism brought on by the daily drag of a professional life.
“Would you pay £4 million for this crap?” That was the question posed by the front over of the NME in February 1986, a reference to the over-hyped electro sci-fi punk band Sigue Sigue Sputnik and the fee allegedly paid by record company EMI for their services.
I would like to think my outlook on things is generally optimistic. Perhaps that’s a natural consequence of working with something designed to give pleasure. But recently it has become increasingly difficult to ignore a creeping sense of negativity pervading the British wine trade.
One of my earliest memories of drinking proper wine was with a university friend who liked to get out of Oxford on Friday afternoons and spend the weekend in London. There, we were able to prise open cases of her dad’s wine – Médoc something, I vaguely recall – stored in the garden shed and often more shed-cold than cellar-cool when we opened it.
Back in 2005 (how’s that for a topical intro, folks?), we were on the panel of judges at the International Beer Challenge which awarded the Supreme Champion gong to Rogue Mocha Porter.
Picture the scene. You put your key in the keyhole, shove the door with your shoulder, drop your bags and look down. There, beaming up at you, is some relative or friend’s smug postcard with sandy beaches, Piña Coladas and palm trees (or, these days, an in nity pool and a detox smoothie) with a literal or metaphorical “wish you were here” written large.
Where I live, you can buy McDonald’s milkshakes 24 hours a day if you so desire. Yet both local wine merchants (one independent, one national chain) had locked their doors at just after 7pm when I was trying to buy a few bottles recently. For a neighbourhood drinks retailer to close so relatively early seems like wilful mismanagement to me.
Few things can bring communal pleasure so intimately as wine. Apart from a hot tub, perhaps. Sport can trigger mass jubilation, film gives us shared empathy, but wine has a nigh-unique ability to bestow conviviality among us through a shared bottle – which makes it especially galling that we spend so much time divided over it.
In my first wine shop job I was astonished by a colleague’s ability to remember the personality of particular regions’ vintages and to casually observe, while stacking shelves, that the labels of a given wine had moved on from one vintage to another. Never blessed with a prodigious memory, this seemed to me as breathtaking as a circus trapeze act.
Whyte & Mackay has launched a Scotch in honour of legendary arctic explorer Sir Ernest Shackleton – a replica of the whisky he took with him to the bottom of the world, and famously left there for 100 years.
I was asked recently what I thought the biggest change had been in wine fashion in the past five years. My answer was unequivocal: sales of pink wines. From being a niche that expanded and contracted with the sunshine, rosé has subtly but steadily become a stalwart of many merchants’ ranges, with Provence firmly at the top and asked for by name.
At school, I was the kid who rushed through work to get five minutes playing Granny’s Garden on the classroom computer at the end of the lesson. In an era when neon legwarmers were trendy and Hock was posh, this clunky puzzle was the height of gaming technology - “press spacebar to continue” felt like an invitation to the future.
There’s a standard bearer for the British craft beer movement that recently carried out an extraordinarily successful crowdfunding campaign. It’s a brewer that is at once innovative, experimental and exciting in its approach to making beer and has embarked on opening top-notch specialist bars to bring both its own and other producers’ best brews to significant urban locations. Its fundraising effort to ease its expansion plans attracted enthusiastic investors going into four figures and achieved 179% of its investment target.
Making my way through the recent tranche of Burgundy tastings for the much-hyped 2015 vintage, I found myself experiencing a moment of guilt.
I love Estrons. No, it’s not an obscure grape variety or a hipster wine bar – alright, chances are it’s probably both, but I’m talking about the Welsh band. I first heard them on the radio, started listening to them regularly, saw them playing live a couple of times, and am completely hooked on their energetic, sultry, riff-driven, growling indie rock. They call it heavy pop.
Reaching the 50th instalment of Hemming’s Way is hardly the biggest milestone, but I don’t need much of an excuse to pour myself a glass of champagne before getting dressed. It’s a better reason than I had for all 49 other instalments, anyway. Not that that stopped me.
As I’ve entered my sixth decade on the planet I hope I’ll be forgiven for not being massively hip and only paying proper attention to Seedlip for the first time this week.
Wine is a liquid time capsule. Drinking older vintages not only recalls the weather conditions and winemaking styles of the past, it encourages us to reflect upon our own histories. Such reminiscence often inclines towards romanticised nostalgia. Especially after the second bottle. But looking back is a great way of learning about the future.
It’s always exciting when a new movement comes along, be it social, political or cultural. So it is with wine. When a movement arrives, it signifies a new direction and a potentially important future trend. It’s in the interests of everyone who works with wine to keep abreast of the latest developments – and besides, unearthing the newest trends is an exciting part of the job.