“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.
The reasons Donald Trump should not be left in charge of a shopping trolley, let alone the keys to the White House, are plentiful and well-documented – from his use of the word “bigly” and lamentable business legacy to his dubious post-modern feminist principles, quite astonishing lack of political acumen and, most worrying of all, his bewildering hair.
Ever since cavemen started swapping things with each other, the rules of retail have remained unchanged. Eye level is buy level, retail is detail, the customer is always right, one bear skin costs 10 arrowheads. OK, maybe that last one died out with the cavemen.
All across England and Wales, vineyards are being harvested. Down winding country lanes come armies of welly-wearing conscripts wielding secateurs and buckets, ready to reap the rewards of our vines. Happily they come, their cheeks ruddy with pride. Half an hour later they’re crawling over muddy clods with lacerated hands, drenched in claggy juice and cold sweat, as if ploughing through an endurance race.
So, George The Bear is back. It’s hard for some of us oldies to fathom, but there are those under, say, 40 who can’t actually remember Hofmeister and, therefore, do not feel the cultural jolt supplied by the return of both the bear and the beer whose marketing campaigns it used to front.
It’s all true. Wine writers loaf around in a state of partial inebriation and partial undress, bitching about having to taste free wine all day and using recondite words like malolactic, terroir and recondite.
Procrastination required far more effort before the internet. Locating endless pages of time-wasting distraction necessitated a printed catalogue, and king of them all was Innovations. Subtitled Tomorrow’s Products ... Today! it was the mail-order equivalent of a fairground novelty stall, selling such junk as zip-up ties and big toe straighteners.
The UK is the world’s largest market for Champagne and after years of decline sales have finally started to pick up once more. Volume sales have grown 0.7% and values are up 1% (IRI, year to March 2016) and it is now worth more than £250 million in the UK off-trade alone. It therefore beggars belief to learn that the Comité Champagne has decided to scrap its annual London tasting.
Other than sandcastles, it’s generally inadvisable to build things on sand. It’s pretty much the exact opposite of a solid foundation. Building on sand is like drinking seawater when you’re dehydrated or reading tabloids when you want balanced reporting: a self-defeating exercise.
Last month’s OLN Wine Report highlighted some of the most prominent issues currently facing the off-trade. Taken in isolation, the report’s findings make gloomy reading – shrinking product ranges, supermarket turmoil, lack of innovation and a decline in overall wine sales across the country.
It’s little surprise to see that Carlsberg’s Euro 2016 special, er, brew is a 4.1% abv golden ale. It’s a product spec that’s become the default setting for any beer launch that wants to tick boxes around modern beer trends without risk of causing offence.
Do anything too regularly and it soon becomes a chore. Stop sniggering at the back. It’s as true for wine tasting as it is for data entry. I know, poor us. Try telling anyone with a normal job how unlucky we are and I doubt you’ll get much sympathy, but the fact remains that there are thousands of different wines and most of them taste pretty average.
Whatever your outlook, it’s easy to lose sight of the bigger picture. Retailers are too often introspective, focused on what’s happening within their own four walls. Sales reps can get lost in monthly targets and fail to appreciate the longer-term needs of their customers. Wine writers spend far more time tweeting other wine writers about wine writing than considering what readers actually want.
For more information about recruitment advertising online or within Drinks Retailing News magazine please contact:
Erica Stuart on 01293 558 132