I was thinking of ignoring the “what does sessionable
mean” debate, even through I was dragged into it by my ear by having my
research quoted. Then I saw a tweet yesterday from someone talking about “a sessionable 5.5 per cent smoked oatmeal stout”,
and the world swam and dissolved before me as I plunged screaming and twisting
into a hellish, tormented pit of dark despair.
Let me make this as clear as I can. This is an egregious and
unforgivable total failure to understand what the expression “sessionable”
means, is meant to mean, and was coined for. A 5.5 per cent alcohol beer is
not, and cannot be, “sessionable”. A smoked oatmeal stout, while I am
sure it can be lovely, is not and cannot be “sessionable”. Nobody
ever spent all evening drinking four or five, or six, pints of smoked oatmeal
The rant you are now reading springs less from that particular beer review than a piece this week by the British beer writer Lily Waite on the American website Vinepair headlined “It’s Impossible to Define ‘Sessionable’ in Craft Beer”. I don’t think Lily wrote the headline, which looks to go further than her article does, but her piece, which references my research back in 2011 into the origins of the term “session beer”, raises a number of potential difficulties around a definition of the term “sessionable”, not least the existence now of beers called “session barley wine” with eight per cent alcohol and 75 IBUs, and “session double IPA“, again at eight per cent abv.
I try not to
be prescriptivist about language, but for me “sessionable” is a very
useful word with, actually, yes, a precise meaning, and if people are going to
start being stupid with it by releasing something called a “session barley
wine” or “session double IPA”, even as a “joke”, then
we are in great danger of destroying an important descriptor, and losing an easy
way of summing up one of the fundamentals of British pub culture.
It’s entirely possible to define “sessionable”, but only if
you understand what the expression was coined to describe, which many American
beer drinkers – and brewers – apparently do not. A large part of the problem is that the word springs from a very British
practice, the “session”, and Americans don’t really understand what
the “session” is about. Britons and Americans are fooled into
thinking that, because they speak the same language (more or less) and drink
the same sorts of beers (more or less) in places that are called
“bars” (even if the British “bar” is actually a room in a
pub, rather than the descriptor for the whole establishment), then their out-of-home
drinking cultures are entirely similar and compatible. They’re not. “Sessionable”
means “beer capable of sustaining a session”, and “session”
means “extended period of three or four hours drinking pints and engaging
in conversation with friends”. That is why the fundamental definition of a
session beer has to be that it has a comparatively low gravity and is comparatively
unobtrusive. Americans, in my experience, do not generally spend entire
evenings in one bar drinking pints. (See also the bizarrely tiny glasses used
at American beer festivals.)
Another problem is that
people are confusing “sessionable” with “drinkable”. The
two are very much not the same. An eight per cent barley wine may well be
“drinkable”, in the sense of that great beer-reviewer’s cliché,
“dangerously drinkable”, that is, it slides away down the throat very
easily. But “sessionable” means “you can drink several and still
walk out the door without bumping into the frame.” An eight per cent
barley wine is therefore NOT “sessionable”.
Lily Waite’s piece is specifically looking at “sessionability” in the context of terms such as “session IPA”, and the craft appropriation of a term than applies much more to mainstream, non-craft beer drinking in the UK, and beers such as Carling, Fosters and the like. She interviewed some people with – ahh – interesting takes on sessionability, including James Rylance who helped create the now highly popular Neck Oil, Beavertown Brewery’s “session IPA”, which comes in at 4.3 per cent abv, and “masses of hop additions during the whirlpool and a huge dose of dry hops” (I quote from the brewery’s website). I’ve never tried a session on Neck Oil, but while 4.3 per cent is just on the edge of sessionability, I’m not sure about “”masses of hop additions”, even ignoring ” a huge dose of dry hops”. The classic British session beers are milds and light bitters, which generally have low hop rates. High hop rates are, I suggest, the antithesis of sessionability: too many hops, and you really can’t drink more than a couple of pints without hop overload.
James Rylance told Lily Waite that sessionability was less
about abv than “balance”, and insisted: “I think ‘sessionable’ is a
beer that can be drunk repeatedly, multiple times, in its correct volume.
There’s a lot of Belgian beers that are super sessionable, like Saison Dupont
at 6-point-something percent — that’s sessionable, but I’m just not drinking a
pint of it.” No, sorry, couldn’t disagree more. You’re confusing
“sessionable” with “drinkable”. You might be able to drink
several small Duponts, I’m sure, lovely beer, and one is certainly not enough, but
a true session beer has to be gulped in pints, not sipped. And probably I drink
too fast, but after a four-hour session, I wouldn’t even be able to find the
bar if I were drinking something that was 6.5 per cent. So no, Saison Dupont is
NOT “sessionable” either.
I can’t agree, either, with another of Lily Waite’s interviewees, Chris Hannaway of the London-based alcohol-free beer venture Infinite Session (see what he did there?), which launched last year with a 0.5 per cent pale ale brewed at Sambrooks in Battersea. ” “A ‘session’ is no longer about everyone ordering the same 4 to 5 per cent lager rounds for everyone in the group,” he says – but it never was. It was about people drinking 3.2 per cent to 4.3 per cent milds, bitters or lagers, depending on what they wanted, and drinking them all night long.
So: what’s the definition of “sessionable” and does it apply to craft beer? Sessionable means a beer you can drink over an extended period without getting too drunk and without growing tired of it and wanting something else. And yes, clearly that can apply as much to craft beer as it does to macro, mass-market beer. (Indeed, personally I find mass-market beers entirely unsessionable because they bore me after half a pint. Dull is not sessionable either.) A sessionable craft beer is going to be one that is not too strong, and not too challenging in terms of massive hop flavours or other flavour attributes such as roastiness, sourness or whatever. There – not impossible at all.
I apologise for greeting the new edition of Camra’s Good Beer Guide, with a spittle-flecked rant. A little. But not much. Because SIX YEARS after I pointed out that the “British beer styles” section of “the UK’s best-selling beer and pub guide” was choked with errors, the 2020 edition of the guide, just out, is STILL printing paragraph upon paragraph of nonsense about practically everything, from IPA to porter, and barley wine to mild.
It is also seriously misleading by what it omits to say: failing to point out, for example, that today’s American-style IPAs, with their emphasis on fresh, fruity, flowery hop flavours using modern varieties of hops, are radically different beers from the aged IPAs of the 19th century, or the debased IPAs of the mid-20th century; and that modern interpretations of porter and stout, frequently adding a wide range of ingredients from coffee to vanilla to blackberries to peanut butter, are again very different from the versions that sustained the street porters of London in the time of the Georges.
Inside sources tell me that suggestions for changes to the “British Beer Styles” section for the 2020 edition were made, but were ignored. That’s shameful, frankly: of the many thousands who buy the guide, all those who knew little to nothing about beer styles will now be utterly misled into believing nonsense, while all those who DO know about beer styles will be deeply under-impressed by an obvious lack of knowledge in a book that purports to be the country’s leading pub guide, published by an organisation that purports to be the country’s leading organisation for beer drinkers.
It’s not as if all the information on beer styles that the GBG gets wrong isn’t out there in easily discoverable forms: there are now a considerable number of books, blogs, magazine articles and so on giving the true facts about how the beer styles we know today developed. And yet the 2020 GBG still prints utter nonsense such as “a true pale ale should be different to bitter,” and “From the early years of the 20th century, bitter began to overtake pale ale in popularity, and as a result pale ale became mainly a bottled product.” I wrote an article 15 years ago – FIFTEEN YEARS AGO – for What’s Brewing, the Camra monthly newspaper, detailing the history of bitter, and pointing out that bitter and pale ale were and always have been synonyms for the same drink, and that brewers have never differentiated between them. To claim that there is any difference, and that at some time ” bitter began to overtake pale ale in popularity”, is total made-up spherules. Here’s something I wrote 12 YEARS AGO about why saying otherwise is historically totally wrong.
Since the guide screws up “pale ale” so badly, unsurprisingly it gets the section on bitter wrong as well. It starts off talking about “running beers”, but running beers only began appearing at the end of the 19th century, and the first bitter beers appeared 40 or more years earlier, a cut-price, lower gravity response to the popularity of India Pale Ale, which was always a premium beer. It also claims that the rise of “running beers” (most of which, anyway, were mild ales, not bitters) was connected with the growth of brewers’ pub estates, which is more nonsense. It was a consumer-led desire for less alcoholic, lighter beer that saw the formerly well-aged “stock” bitters disappear. All the same, bitter/pale ale was a minority, middle-class drink until the early 1960s.
The section on IPA repeats the canard that the original “pale ales as prepared for India” were high in alcohol, a fallacy which I thought Ron Pattinson and I had stamped out, again, 15 or more years ago. At six per cent to 6.5 per cent abv, 19th century India Pale Ales were lower in strength than 19th century milds, which were up to seven or 7.5 per cent abv. It also gets the history of the entire brewing industry wrong, claiming that IPA “changed the face of brewing in the 19th century”, as “new technologies of the Industrial revolution enabled brewers to use pale malts to produce paler beers.” It was always possible to produce pale malt, but developments in the 17th century – not the 19th – made pale malt production easier, and pale ales began growing in popularity from the end of the 1600s. (It’s a curious fact that the first known mention of the expression “pale ale” came in 1706.) What these were, however, were unhopped, or very lightly hopped pale ales: the more hopped “export” kind were an 18th century development.
Those lightly hopped, sweetish pale ales were what the brewers of Burton upon Trent specialised in before they started brewing the more bitter IPAs, and those sweetish pale ales became known as Burton Ales. It’s a style that has almost vanished now: Marston’s Old Rodger and Young’s Winter Warmer are two of the very few survivors. The 2020 GBG beer styles section actually mentions Burton Ale, but screws it up unforgivably by claiming that the beer launched in 1976 under the name Ind Coope Burton Ale was a Burton Ale of the sort once popular around the country until the 1950s. This makes me really want to smack someone hard, because I have again been pointing out for years that the 1976 beer was an IPA, with a recipe derived from what was once Ind Coope’s premium India Pale Ale, Double Diamond, and it was the marketing department at Allied Breweries that decided to mess with beer historians’ heads by giving their “new” cask bitter/pale ale the name of an older beer of a completely different style. So allow me to shout it out: IND COOPE BURTON ALE IS NOT A BURTON ALE. Thank you.
Let us continue with cataloguing the mistakes. This is very tedious, because I detailed these errors in 2013 and NOBODY TOOK ANY NOTICE, which makes me today VERY SHOUTY. Old ale was not called “stale” by drinkers because of the lactic acid and tannic flavours that developed as it aged, it was called “stale” by brewers because “stale” formerly indicated something that had “stood” (the word is related to “stall”), and thus meant merely something that had been around for a while, as opposed to fresh ale or beer, which was called “mild”. The same ale (or beer) would be “mild” when first brewed and “old” (or “stale”) after it had aged.
Mild was NOT “drunk primarily by industrial and agricultural workers in the 18th and 19th centuries, who needed to refresh themselves after long hours of arduous labour.” That role was filled very specifically by porter, which actually gets its name from the workers who were its first big fans, the street and river porters, coal porters, and the like, of London. Mild ale never took off in popularity until the second half of the 19th century, though after it replaced porter in popularity, mild remained THE working class drink, urban and rural, until the 1950s
Barley wine does NOT date “back to the early 18th century”, and nor was its development anything to do with “thumbing a nose at France”. Very strong “doble-doble” beers were being brewed when Elizabeth I was complaining about them, and ales that had been aged for up to ten years were around in Queen Anne’s time. It is claimed that such ales became more popular when brandy was unavailable during Britain’s frequent wars with France. But the expression “barley wine” as a term for such strong brews is extremely rare until the end of the 19th century.
I suppose I should be happy that the worst of the myths that were once repeated about the origins of porter do not appear in the GBG 2020, but there is nonsense enough: the development of porter did NOT “herald in the commercial brewing industry”, since we had had a thriving brewing industry in Britain for more than 350 years before porter. Nor were there special restrictions on dark malt during the First World War: and the dominance of “Irish brewers” (why the coyness? If you mean Guinness, say so) was grounded in developments happening long before the Kaiser kicked off in 1914. Nor, I suggest are stouts jet-black and roasty while porters are dark brown and sweeter: I do not believe there are any generalisable differences between beers brewed today called porter and beers brewed today called stout.
At least the 2020 GBG has the decency to admit that it is “an urban myth that Scottish beers are less heavily hopped that English ones”, a myth that it was spreading in the 2014 edition, but it still claims that Scottish beers “tend to be darker and maltier than those south of the border” – not true – and insists that “Wee Heavy” was a style of beer. It was not: it was the nickname for a particular brand, Fowlers’ Twelve Guinea Ale.
There we are then: two pages on beer styles, more than a dozen silly mistakes, with the true facts in each case easily available for years. The blurb on the 2020 guide’s back cover claims that it is “fully revised”. Can I suggest that for the 2021 edition the “British beer styles” section is not “revised”, but thrown right out the window, and a completely new version written by someone who has taken on board research done into the history of this glorious brewing nation’s beer styles over the past 20 years.
I cannot lie, my stomach made a little flip when I walked into
the union room at Marston’s brewery in Burton upon Trent on Wednesday. Here it
was: the most iconic fermentation system on the planet. The only example left,
out of – well, dozens, certainly, perhaps even hundreds, of unions in use in
breweries from London to Edinburgh back in the 19th century, though the most
famous sets of unions were in the breweries of Burton.
It is not a cheap method of brewing, and accountancy-led
brewing companies, combined with brewery closures, means that today Marston’s
is the only place where you can still find beer being made in traditional union
sets. Pictures don’t prepare for how big the union room is at Marston’s, packed
from wall to wall with sets of oak fermenting casks, each double row of 12
casks mounted under a long, deep trough, there to catch the excess yeast produced
in the fermentation as it spills out of the swan-neck pipes that rise up from
This being Wednesday, the unions had just been filled with
fermenting beer, which had already spent 48 hours in more conventional
fermenting vessels after the initial pitching of yeast into the wort. The
regime followed since a man called Peter Walker invented the union system in
the 1830s is that after that first fermentation has built up speed, the yeasty
wort is “dropped” out of the initial vessels, leaving behind trub and
other debris, and run into the troughs above the unions, before descending into
the union casks, each one of which hold 162 gallons – four and a half barrels
There, in the dark, the Marston’s union yeast gets into its stride, multiplying furiously as it turns the sugars in the wort into alcohol and carbon dioxide. The yeast loves life in the unions, and it increases so fast it foams up out of the casks and into the troughs in – from some of the unions last Wednesday – a constant creamy pour. The beer the yeast carries with it then runs back into the casks, leaving the yeast behind (to be, eventually, scooped out and turned into Marmite). Fermentation is effectively finished by the Friday, but the beer sits in the unions until the Monday, when it is run off to be packaged in cask, bottle or keg. Despite the expense, Marston’s brewers firmly believe the union system produced a beer with great stability and considerably enhanced flavours, and it is the only method used to make the brewery’s flagship Pedigree pale ale, as it was the main method of brewing in the many other breweries that once filled the town’s air with the beautiful scent of mashing barley, in the glorious past when Burton sent constant trainloads of IPA out around the world
And now, for the first time, Marston’s unions have been used to make an Imperial stout, the latest in the “Horninglow” series of one-off beers, which is why I was up in Burton, to talk to the head brewer, Pat McGinty, about the new beer, and also to have my first ever look at the Marston’s union room (shameful, I know. Call myself a beer writer?)
It’s not totally unknown to use unions to make porters and
stouts, and by coincidence only a few days before my trip to Burton I was
reading an article in a brewers’ trade magazine from 1878 by Charles Howard
Tripp of the Stogumber brewery, near Taunton, in Somerset about brewing porter
in unions. But I’m not aware of anyone making an Imperial stout that way.
Equally unusually, Pat McGinty has made this 7.5 per cent abv beer using
straight-up Burton well-water, rammed as it is with sulphates, which, conventionally,
is seen as terrific for pale beers but not so great for dark ones, where a more
London-like brewing liquor, with lots of calcium carbonate in, is regarded as
optimal. The reason for not altering the water chemistry, Pat says, is to
ensure this stout has a proper “Burton” character, which search for a
Burton character is the reason for brewing the stout in the unions, and fermenting
it with the standard Marston’s union yeast as used in making Pedigree. (The
yeast apparently got on fine with the dark grains and the higher OG of the
stout, though the brewers had to spend twice as long as they normally do, 4½
hours, cleaning the unions used for stout brewing, to ensure no contamination
of the next batch of Pedigree.)
To make up for the possibly unsuitable mineral profile, Pat
has used malted oats in the brew, to help round out the mouthfeel: the other
grains are pale ale malt, roasted barley, chocolate malt (Charles Howard Tripp
was keen on chocolate malt, which had only just been invented in his time, saying:
malt [gives] a capital rich and full flavour to the porter in which it is used”)
and malted wheat, while the hops are Challenger. The beer, which will, I
believe, be exclusive to Waitrose, was only two weeks old when we sampled it, unfiltered
and heavy on the roasty flavours, and it still had to be filtered, partially
carbonated and sent to the bottling plant, where each bottle will be seeded
with the same union yeast the beer was originally fermented with (the union
yeast apparently happily drops to the bottom of the bottle). It will then be
held on to for 14 days before being sent out for sale in stores, though Pat
McGinty suggests keeping the bottles for six to eight months to be “nicely
As well as a look at the union room we were also given the chance
to meet Marston’s last remaining cooper, Mark Newton, who spends most of his
time maintaining and repairing the union casks. That was fascinating, too, and
rather sad: Mark has trained up an apprentice, who now works elsewhere in the
brewery, but he is currently the last man in the town doing a job that once was
carried out by hundreds. Here’s a little photo-essay.
I’ve been going on holiday with my family to the Mani, in the middle “finger” of the Peloponnese, pretty regularly since 2006: it’s a beautiful, almost entirely unspoilt place, the beaches are broad and sandy, the sun almost continuous, the people are friendly, the food is excellent, locally sourced and cheap. The beer, until now, has generally not been up to much, but when it’s 32ºC almost anything cold and wet will do. All the same, I was thrilled to discover this year that a local entrepreneur, Takis Kapetanéas, has opened a craft brewery on the edge of the small fishing village of Agios Nikolaos, in the Western Mani, just five minutes down the road from the seaside village of Stoupa, where we always stay.
Greece now has 45 breweries, up from 35 two years ago, 13 in 2009 and a mere five at the start of the century. Most are still tiny, however (indeed, the Mani Brewery, despite being one of the newest is the second-largest “craft” beer brewery in the country), some have struggled and closed, such as the Messinian brewery, near Kalamata, opened in 2009, which made beer under the similar-sounding Neda brand, but which closed a couple of years or so back; and beer remains down the list of priorities for Greek drinkers: for comparison, the country is said to have some 500 different brands of ouzo, and 3,500 wines.
The brewery’s founder, Takis (short for Panagiotis) is in his early 40s and proudly Maniot born and bred: the “-éas” at the end of his family name is the universal ending for surnames in the Messinian Mani, and the brand name of his beers Nema, is a Maniot dialect word meaning “gesture” or “nod”, while the brewery logo features the tower houses found in almost every Maniot village, where, in the past, families would retreat to defend themselves against their enemies – generally rival families from the same village.
Takis, who worked in the property business before he became a full-time brewery
owner, says he “fell in love” with beer on his travels abroad, and became
a “long-time” home brewer, always with the ambition to open his own
brewery. The brews currently being made at the Mani Brewery, a 16 IBU 4.6 per
cent abv blonde ale and a 20 IBU, 4.6 per cent abv summer ale, are
“pragmatic” beers, Takis says: not the beers he would like to make
which would be well-hopped IPAs and stouts, but the ones he knows will sell in
the Greek market, where 99.5 per cent of the beer on sale is pale euro-lager.
The blonde is
an excellent, refreshing, unfiltered, unpasteurised easy-drinking top-fermented
ale, best served well-chilled: citrussy, slightly sweet, made with the local spring water, treated as necessary
(Mani tap water is unfit for drinking, containing four times more fluoride than
EU recommendations, but the springs in the region provide nicely lime-hard brewing
liquor), Magnum hops, Greek pils malt from the Vergina brewery in Thessaly and
a touch of Vienna and carapils,. It’s a great beach or poolside beer. The
summer ale, paler, slightly bitterer, slightly hoppier, is a little more
complex, and a fine companion for the generally unfussy, excellent-value Greek food,
all made from local ingredients, found in the many family-run restaurants in Ag
Nik and its larger neighbours, Stoupa and Kardamili, where you can still dine
very well for under €14 a head, including drink.
Takis and John
Malcolm, an expat Scot in his 60s and another long-term home brewer who met Takis
through their mutual interest in making beer, and who is now one of two assistants
at the three-man brewery, offered a sample of the blonde ale that had been
souped up post-fermentation with masses of extra Citra hops, a beer closer to
the sorts they would like to educate local drinkers into appreciating. It was
tremendous: the pale malts giving an almost transparent underpinning, like clear
glass struts, to a beautifully sculpted structure of lemons, limes and mangoes
whirled together in a frothy, scented, just-bitter-enough delight.
The brewery itself, which opened in June last year just off the main road south from Stoupa, between the mountains and the sea, after a short period where Nema beers were being made by the Sparta brewery, on the other side of the Taygetus mountains that divide the Mani peninsula, is housed in a building that started as an olive oil factory, spent some time as a marble works and was later a disco, which has to be, surely, one of the most varied careers of any brewery premises on the planet. Today it holds shiny Chinese-made stainless steel brewing kit: 1,200-litre brew length, mash tun, copper, lauter tun, whirlpool and hop kettle, four fermenting vessels (three 25hl, one 12.5hl), pumps and valves computer-operated, it only brews top-fermented, unfiltered, unpasteurised ales, so no lagering tanks, and there is a very small bottling and kegging line, with CO2 flushing. The kit was manufactured by Tiantai, in Jinan, Shandong, China to Takis’s specifications, and Tiantai send its Mr Wu over to Greece to put it all together: according to John Malcolm, Mr Wu did not speak English, let alone Greek, and all communication with him was via Google Translate. How much the kit actually cost, the Mani Brewery won’t say (indeed, they were rather upset when I made a guess), although John Malcolm did reveal that it cost more to ship the kit from Piraeus, Greece’s main port, to Ag Nik than it did to get it from China to Piraeus.
Takis is coy about the whole source of the brewery’s funding, saying only that it is “local financing”. He has backing from a big local drinks distributor, and he has also had encouragement from Mythos Brewery, the Carlsberg subsidiary that supplies what is probably the best of Greece’s macro-lagers. The encouragement from Mythos, he thinks, is there because the company sees an operation like the Mani Brewery as expanding the market for beer in Greece, and Carlsberg would like to be able to introduce some of its more “craft” brands, such as Grimbergen (yes, I know, but that’s how Carlsberg sees it) into the country. The reasoning seems to be that if, through the availability of more craft beer from the likes of the Mani Brewery, the Greeks are persuaded to drink more unusual beers and less macro-lager and ouzo, then this will be good for Carlsberg as well.
It’s a brave
step to push unfiltered, unpasteurised, slightly hazy ales at a market that
doesn’t really understand such beers yet, and once, at least, in my multiple samplings
of Mani Brewery beers in numerous outlets over more than a fortnight it didn’t work – ironically,
at a restaurant in Ag Nik itself, where the beer in two consecutive bottles was
clearly badly oxidised. That was the only hiccup, however, and I report it
solely in the interests of honesty. Otherwise, if you’re in Greece, Nema beers
are worth grabbing wherever you see them. The beers of the Mani Brewery are available, on draught and/or in bottle, in almost every outlet in the region, and pushing up into Kalamata, the local big city. I greatly look forward to sampling
them again, and seeing what new brews Takis, John and the rest of the team come
The original version of this post contained a story that I was told by two different people, which Heineken Greece insists is totally false. It was alleged to me that after the Mani Brewery opened, Heineken Athens, brewer of leading brands of beer in Greece such as Alfa and Amstel, contacted all the local bars, restaurants and supermarkets and told them that if they started stocking the new brewery’s beers, Heineken would withdraw its own brands, plus the dispense equipment, from their premises. “Fine,” all the bar owners allegedly replied, to a Maniot. “Do you want to come and collect it now, or shall we just throw it out into the street?”
It appeared a fine example of how you should never try to bully a Maniot – they are descendants of the Spartans, and fought the Ottoman Empire for more than 350 years, eventually leading the revolt starting in 1821 that finally saw the Greeks re-establish their independence – and Heineken, unfortunately, has form: it was fined a whopping €31.45 million only five years ago (reduced on appeal to €26.73 million) by Greece’s Competition Commission for abusing its dominant position in the country’s beer market. However, the Mani Brewery was swift to distance itself as far as possible from the story, and after I contacted Heineken for a statement, Yiannis Georgakellos, communications and corporate affairs director at Athenian Brewery, Heineken’s Greek subsidiary, insisted: “The allegation that ‘Heineken Greece contacted bars and restaurants in the local area and told them that if they stocked the new brewery’s beers, Heineken would withdraw its own brands and dispense equipment from their premises’ is simply untrue.
“Over the last five years the number of local microbrewery brands available in the market has drastically increased. This is a positive shift for us, as it gives consumers more options, thus contributing to a thriving beer culture in Greece, which is one of our main objectives as well.”
I am happy to repeat Mr Georgakellos’s assurances that the story is false, and should anybody tell you this story, Mr Georgakellos wants everybody to know that Heineken subscribes to something called Speak Up, “a service available to anyone, internally and externally, who wishes to raise a concern about possible misconduct within our company. We encourage everyone to Speak Up in confidence and without fear of retaliation about any concerns they may have. We offer several Speak Up channels such as speakup.heineken.com through which people can raise questions and concerns. They include trusted representatives and an external Speak Up service (telephone and online) which is run by an independent third party and available 24/7, 365 days a year.”
Should you wish to know the differences between the craft beer scenes in London and Munich, Burchard Stock is a good man to ask. For two years he was a brewer with the pub brewery chain Brewhouse & Kitchen in Britain’s capital, ending up in charge of the Islington branch, close by the Angel: indeed, his pictures are still all over the venue’s website. Then in May this year he moved back to Bavaria to take charge of the Schiller Bräu operation, a “house brewery” in a restaurant on the ground floor of a modern hotel a short distance from Munich’s central station.
The Islington Brewhouse & Kitchen will sell you mac ’n’ cheese, beetroot burger in a vegan bun, or spicy Cambodian curry, with a hoppy American pale ale, a stout or a session bitter, all brewed on the spot. At Schiller Bräu, despite the modern interior, all tiles and distressed wood, it’s “traditional favourite dishes inspired by grandma’s kitchen”, and traditional beers inspired by grandpa’s Brauarei (sic), that is, “Schweinerei”, pork schnitzel covered in pretzel crumbs; “Bleede Kua”, grilled fillet of veal, and “Sauer macht lustig”, sour vinegar dumplings with onions, gherkins and radish, with, to drink, a selection of beers from the beautifully shiny brewkit at the front of the restaurant so solidly Bavarian, like the food, it will make any lederhosen-clad boarisch Mo fling himself into a chorus of “Ein Prosit!” immediately: Helles, Dunkel and Weißbier. And maybe a Maibock if it’s the right time of year. Don’t dream of offering anything that isn’t Reinheitsgebot-compliant, or they’ll have you outside and strung up on a lamp-post before you can say “Oans! Zwoa! Drei!”
Despite the conservatism of the drinkers in Freistaat Bayern, there are, in fact, more than twice as many “start-up” breweries in its borders, at 220-plus, than in any other single Land in Germany. At the same time it is the only state in the federal republic where the “traditional,” established breweries, of which there were 424 as of August last year, still outnumber the new ones: indeed, Bavaria has two thirds of all Germany’s old-established breweries, but only just over a quarter of the new ones (and just over 16 per cent of the total population). But Munich, which if it followed even the Bavarian average, ought to have around 25 new breweries, falls far short: nobody I spoke to seemed to known how many small breweries there are in the city, but it’s a handful, at best. The Big Four Munich breweries (counting the partly Heineken-owned Paulaner and Hacker Pschorr and the AB Inbev-owned Löwenbräu and Spaten-Franziskaner as one each) dominate, and one, the still independent Augustinerbräu, dominates most of all. For a city that boasts of its beerhalls and its world-famous 16-day-long celebration of beer, the Oktoberfest, the choice of beer, and beer styles, is more limited than in the average British corner shop.
Burchard, a mid-20s look-alike (he will hate me for saying this) for Harry Potter without the scar, says: ” A lot of people think Munich is the capital of beer. I think there was a time when that was definitely true. But what we have nowadays in Munich is basically four or five big old brands, while if you go to Berlin, you know, you have 50 small breweries and one big one, or Hamburg, which has such a variety of small breweries. There are plenty of people who say, ‘If you want to start a business that’s not going to succeed, start a brewery in Munich.’ I was impressed when I came here that this brewery was so young and doing so well. Everyone here drinks Augustiner: I think it’s 55 per cent of the Munich beer market, which is huge, and then another 40 per cent goes to breweries that are just copying Augustiner, so there’s not much left for others to claim.”
The Schiller Bräu brewery, on Schillerstraße, now two years old, is one of several “house breweries” based in hotels run by MK Hotels, which itself is owned by the Lindner Group, a large German construction company specialising in facades and interiors (its works include the Gherkin, 70 St Mary Axe, in London). Burchard says: “It’s a family-owned business, and at the beginning of this century the founder said, ‘I want to set up a hotel business.’ So he started a small hotel chain – I think we’re about 12 or 13 right now – and with the hotel group he also fulfilled one of his oldest dreams, which is owning his own brewery. With the first hotel they built they put in a brewery, in Mariakirchen, in Lower Bavaria, and there are now four hotels with breweries in.
“The beers vary depending on the location: in Mariakirchen, for example, they’re very, very, very traditional, because the Bavarians down there just drink the local equivalent of mild. Moving up to Munich, we’re still traditional, but from time to time we do a little bit more of a tweak. The more northern you go, though, the crazier it gets: In Remscheid, [near Dusseldorf], one of the other production sites, he’s doing quite similar stuff to what the people in London are doing, so watermelon ale and stuff like that – he’s into the craft beer stuff. But It depends on the people around you and who drinks your beer. The Bavarians are very conservative.”
“Here we have four standard beers: Helles lager, dark lager, wheat beer, and a lower-abv Helles, 2.5 per cent alcohol. Every month there’s a new seasonal coming out, so for this month it’s a Pilsener: this is where the brewer gets to vary things.” The local cut up the last time Burchard brewed a pils, though: they don’t like ’em too hoppy in Bavaria, unlike in Northern Germany. “This is how all the breweries in the group work: you have your core beers, and then every month you get a little special treat. After August we are going to have a Märzen, for the Oktoberfest, that will stay on for two months, and then we’re going to have a dark wheat beer, a dark doppelbock, a dark bock, a rye wheat beer, a Märzen again, a Maibock – pretty much a standard Bavarian selection. It’s just slightly different from what I was brewing in Islington,” he says, smiling. “We had real ales, we had a session lager, a really fruity American pale ale, oatmeal stout, Saison, witbier, sour biers, all the usual craft beer range.”
Burchard was born near Bonn, grew up in Berlin, and spent a couple of years in Munich. He started out wanting to study psychology, or social work, and applied to various universities in the south and west of Germany. “My mother told me that someone was studying social work at Weihenstephan, just outside Munich, so I looked it up on the internet, couldn’t find that course, but saw the brewmaster diploma course, and thought, ‘that looks really fun,’ so I applied for it almost as a joke.
“They gave me an offer of a place, so I thought I had better take a serious look at the course. It involved a one-year internship before the course, and I really liked the idea of that – earning money so I didn’t have to live off my parents’ money, and if I didn’t like the job, at the end of the year I could move on and go and study psychology after all. I was 18 years old, what did I have to lose?”
Before he could take up the course, Burchard did an internship at Oettinger, Germany’s biggest brewer, and “really really like the subject it, really enjoyed it, enjoyed my time a lot. I moved on to Munich to study at Weihenstephan, studied for three semesters and with every semester, for me, the fun was going out of the subject. I looked at it and I said, ‘If you finish that course and you become a Diplom Braumeister, as we call it in Germany, then in the end of the day you end up in a laboratory, overseeing everyone who is doing the brewing stuff, but basically having no hands on the beer any more.’ If I wanted to do that I could have done a business degree, and apply to a big brewery for a management post, or study microbiology and gone into a laboratory. That was not what I was looking for, but in the very beginning, when I applied, I had no idea how the business worked.
“So I quit the university at that point, went back to the beginning, did my apprenticeship in a very small brewery, Eschenbräu in Berlin, a really good brewery, I recommend anyone to go there. I finished my apprenticeship really quite quickly – in general you do a three-year apprenticeship, but since I had quite a bit of pre-knowledge from my studies I could finish it in a year and ten months, something like that. I came back to Munich and worked half a year for Paulaner, where I made my choice that I would never work in a big brewery again, because it’s, excuse my French, fucking boring, pushing buttons and observing and controlling, the practical work is missing. That’s what I really like in this job.
“So then I moved over to London for two years to work in Brewhouse and Kitchen, became head brewer in one of their branches, in Islington, and then came back to Munich and started here.”
The brewing kit at Schiller Bräu consists of a copper-clad mash tun/copper, lauter tun and whirlpool, plus three fermentation vessels and seven conditioning tanks down in the hotel’s cellars, where the beer is also stored in tanks when ready for serving. All the equipment was made by the highly regarded small-brewery specialists Caspary in the village of Hart, near Chieming, in the far south-east corner of Bavaria, who recently supplied the London Fields brewery with a 15-hectolitre brewhouse. Schiller Bräu’s kit cost €400,000, vastly more than the cost of the kit at Brewhouse and Kitchen, and it is considerably more sophisticated as well. While the kit in London was set up for single-step infusion mashing, the Schillerbrau kit will do multi-stage decoction as required, depending on the style of beer, though Burchard generally does what the Germans call the Hochkurz mash, literally “high-short”, where a portion of the mash, usually one third, is boiled for five minutes and then blended back in. The Helles stays in the conditioning tanks for at least a month, the dark lager and pils for the same time, the Weissbier “I think is good after two weeks, but usually it has three weeks, because the tank it’s served from isn’t empty yet.”
Burchard brews twice a week, in 900-litre batches, using malt from the Bavarian maltster Weyerman, while most of the hops are from the Hallertau, the yeast from Augustiner, 20 litres at a time, replaced every two to three weeks, and the water straight from the tap, with acidulated malt used if he ever needs to lower the pH. Almost all the beer is sold on draught, unfiltered and unpasteurised, with 96 or 97 per cent of the beer drunk on site, and only a very small amount put in bottles, growlers or mini-kegs for taking home. No other brewery’s beers are sold in the restaurant, apart from Schneider’s alcohol-free Weißbier.
The business, as it should be, is booming: ” It’s hard to find a table here if you don’t have a reservation. Around Schillerstraße there are a lot of hotels and you get a lot of tourists here, but I wouldn’t say tourists are our main customer group. We have quite a lot of regulars, who are typical Munich Bavarians, who have lived here a long time, they just want a regular pub, so they come together every week, sit down and have something to eat and drink a few beers.” Those beers are solid, down-the-line interpretations of Bavarian styles, not, perhaps, worth making a special journey for, but if you’re in Munich, definitely worth looking up.
And what about Munich itself as a beer tourism destination? It’s a tricky call, to be frank. You can go elsewhere in Bavaria and find better Helles, better Dunkel, and so on than anything the city’s big breweries offer. The Oktoberfest is a joke: six million people all drinking basically exactly the same beer. But the beer halls of Munich ARE worth seeing, and experiencing, for the architecture and the atmosphere, and you can watch elderly Bavarians gathered at the Stammtisch enjoying what beer should be all about – convivial chat. So no, you probably don’t know beer well enough until you’ve downed a Dunkel in the Hofbräuhaus. Even if it is full of Japanese tourists taking selfies with the brass band. And if you do go there, you’ll also be able to buy an HB-branded blue spotted handkerchief in the gift shop: that beats a T-shirt any day.
Should you be looking for something more beerily adventurous in Munich, let me point you to a place Burchard tipped his hat at for me: Meisterstück, a bar/restaurant in Weißenburger Straße, in the upmarket suburb of Haidhausen. Behind it is the Hopfenhäcker brewery, one of those rare Munich micros, producing beers you certainly won’t find at Oktoberfest – Indian Pale Lager, for example, or a witbier called Kill Bill (the brewery was originally called Hopfenhacker, “Hop Hackers”, without the umlaut on the A, but Pschorr enough a larger Munich brewery objected, so the name had to be typographically tweaked). Meisterstück sells more than just Hopfenhäcker beers, however, with eight or so draught beers, and 100-plus different bottles available to drink on the spot or take away. I only had time for one as I sat in the little “beer garden” behind the restaurant, which was not actually a “new small craft” brewery, but a dark, sweet and malty Kellerbier from the North Bavarian family brewery Zirndorfer (and, er, not actually that great, alas …).
Still, the next day I just had time, before leaving for Munich airport (which has its own brewery, natürlich) for a swift and delicious Dunkelweiß in the very lovely Schneider Bräuhaus in the heart of the city, and to regret that I had only arranged for a day to explore a tiny fraction of Munich’s attractions. Aufwiedersehen, München – I hope to be back.
Anything they do in That London, Manchester can do as well, including the catastrophic collapse of a giant vat full of maturing porter. Admittedly the Great London Beer Flood of 1814 was rather bigger than the event in Lancashire 17 years later, with the vat that burst at Meux’s brewery, off Tottenham Court Road, containing nearly six times as much porter as the one that collapsed at Mottram’s brewery in Salford in 1831, but eight people, all women and children, died in the London flood, while the only real victim of the one in Salford was a pig that must have had a serious hangover the next day.
Here’s a report of the event in Manchester, from an Irish newspaper, the Westmeath Journal, in Mullingar, Thursday 3 March 1831, p2:
Another newspaper had a slightly different take on the event, including the drunken pig. This is from the Chester Courant of Tuesday March 1 1831, courtesy of Peter Dyer:
A Flood of Porter – On Wednesday morning a large porter vat, containing about 380 barrels of the best brown stout, burst on the premises of Messrs. Mottram, in Brewery-street, Salford (Manchester.) The liquid rushed out with such force as to carry before it a portion of a wall, under which it nearly buried a man and horse, which were at the outside. Another man, who was in the same room in which the vat stood, was carried out into the yard by the flood. The beer overflowed a pond, and was for a few minutes two feet deep in the cellar of a cottage. All sorts of vessels were in requisition for carrying off the precious liquid from the pond. Among other comers was a sow, which was seen in the course of the day staggering off in a state of disgusting inebriety. The loss from the accident, we regret to state, is estimated at from £700 to £1000.
The Westmeath Journal was right to say that London brewers “occasionally” suffered from such “casualties”: among others there were at least two vat collapses at Whitbread’s brewery in Chiswell Street, in 1776 and 1794, in the latter of which hundreds of rats “were taken up by pailfuls in an intoxicated state,” while one of four vats, each containing 1,500 barrels, collapsed at Henry Thrale’s Anchor brewery in Southwark (later Barclay Perkins) in 1772. Outside London, a 530-barrel vat collapsed at Searanke and Biggs’s brewery in Hatfield, Hertfordshire in 1805, though locals with “tubs and pails”, knee-deep in beer, managed to save around 150 barrels-worth of beer; and a 40-fee-high vat containing 720 barrels of vinegar burst at Fardon’s vinegar brewery in Westley Street, Birmingham on Christmas day, 1891, flooding the surrounding streets several feet deep: THAT must have stunk.
In Cork, Ireland, in 1913 a 560-barrel vat at Murphy’s Lady’s Well brewery burst. One brewery worker, who had been underneath the vat when it collapsed, had to swim 40 yards through porter to save himself as the stream carried him along. Outside in the street the porter was diluted with water from a fire-hose by quick-reacting brewery workers, to stop anyone from trying to drink it.
Mottram’s brewery, incidentally, looks to have recovered from its loss and ran through until 1897, when it was acquired by a local rival, the Cornbrook Brewery Co. Ltd, itself acquired by Eddie Taylor’s United Breweries in 1961.
By coincidence, on the same page of the Westmeath Journal as the story about the collapsing vat was another report of an accident at a brewery, this time more tragic:
The newspaper report suggests the poor victim’s internal pain was caused by his diving into the cold water after the accident: my understanding of how this works is that in fact he almost certainly didn’t stay in the cold water long enough. If you’re unlucky enough to be badly burnt or scalded, you have to cool down the affected parts as much and as quickly as possible, because otherwise the underlying flesh, muscle and organs stay very hot, conpounding the harm the heat has already done. This was discovered in the Second World War, when doctors realised that badly burnt RAF pilots who had ditched in the sea recovered much better from their injuries than those who had bailed out over or crashed on land: the cold sea water cooled down their burnt bodies internally and lessened the harm. Morris’s brewery in Lewes became Ballard’s in 1876, which was acquired by Page & Overton’s brewery in Croydon in 1927.
It’s a beer fact guaranteed to make British drinkers boggle in disbelief: one of the biggest selling beer styles among black working-class South African men is milk stout
While milk stout has seen a tiny renaissance in the UK, with craft beer brewers producing examples of the style, it is still mostly thought of, if it is though of at all, as the beer drunk by little old ladies sitting in the saloon bar on their own. The last person in Britain to be known for drinking milk stout was Ena Sharples, sour-faced harridan of the soap opera Coronation Street, who disappeared from television screens almost 40 years ago.
In South Africa, however, milk stout has a totally different image: Castle Milk Stout, originally a South African Breweries brand and now, since it acquired SAB, owned by AB InBev, is a long-time favourite of black workers, and is now being marketed at the country’s black middle class as the beer to drink to show you haven’t lost touch with your roots. (Great ad, that – possibly one of the best beer ads ever.)
Stout and porter had been popular in South Africa from the earliest days of British colonisation, but by the start of the 20th century lager was starting to take over. However, variants on stout were appearing in South Africa, such as oatmeal stout, which was made by several firms, including South African Breweries, which advertised its Castle oatmeal stout in 1916 as providing “health and strength for tired people,” and Chandler’s Crown brewery in Ophirton, Johannesburg, which was still advising customers in 1932 to “Drink Chandler’s Oatmeal Stout and keep colds away!” There was also the peculiar-sounding and short-lived Marrow Stout (bone marrow or vegetable marrow, it is not clear which) brewed by the Thoma (sic) brewery in Johannesburg (founded in 1892 by a German, August Thoma, in Braamfontein, Johannesburg and taken over by Ohlsson’s Cape Breweries in 1902), which was first advertised in the Rand Daily Mail in 1909 but does not appear again after 1910.
However, just as “marrow stout” was disappearing, a new style of stout appeared that would turn South Africa into one of the biggest stout-drinking countries in the world. Sweet stout had been growing increasingly popular, but as the beer aged it lost its sweetness. The idea of brewing stout with a dose of unfermentable lactose sugar, derived from milk, to keep it staying sweet, had been first patented by William Melhuish, a food chemist from Poole, Dorset, in 1908, and the first “milk stout” was brewed by the English brewer Mackeson’s of Hythe, in Kent, in 1909. Mackeson licensed other brewers to make their own milk stouts, and the Castle brewery launched its version in August 1912 with a full-page advertisement in the Rand Daily Mail. Castle Milk Stout became one of the company’s biggest selling beers, particularly after a ban on black South Africans drinking “European” beers, imposed in 1928, was lifted in 1962.
The appeal of the six per cent abv drink to black South Africans, according to the South African advertising guru Happy Ntshingila, was that the traditional sorghum beer which was all they were legally allowed to drink during those years has always been regarded as a food as well as an alcoholic drink, and the “milk” part of milk stout gave it the same image. By the 1990s milk stout in South Africa was primarily a drink of blue-collar Nguni men – members of the Zulu, Xhosa, Ndebele and other South African peoples. The beer was frequently sold in quart bottles, for sharing, the way a calabash of sorghum beer would be shared, and was described as “the most physically masculine brand in the SAB stable.” It was about as far from the image that milk stout drinkers had in the beer’s country of origin – elderly ladies sipping a half-pint in the pub on their own—as it was possible to travel.
The large market for milk stout in South Africa did not go unnoticed in Chiswell Street, the London headquarters of Whitbread, the company that had acquired Mackeson in 1929. However, when the British brewer launched the Mackeson brand in South Africa in 1967, it was as Mackeson Porter, not Mackeson Milk Stout. This, the first launch of a beer under the name “porter” by a British brewer since, probably, the 19th century, was most likely because South African Breweries had a local trade mark monopoly on the use of the expression “milk stout”: there had been other milk stouts in South Africa besides the one from Castle, including Ohlsson’s Lion “melk stout”, as it was branded in Afrikaans, which was still being sold in 1952, but SAB had acquired Ohlsson’s in 1954. (In the UK the term “milk stout” had been voluntarily abandoned by brewers for fear that legislation would be introduced to ban it anyway.) Mackeson Porter was on sale in South Africa until 1972 before disappearing, unable, without the world “milk stout” on the label, to make any impact on a market that had not seen a beer called “porter” for generations.
Early in the 1990s, after the government of South Africa unbanned the African National Congress, and with black Africans increasingly drinking lager rather than milk stout, South African Breweries gave the advertising brief for Castle Milk Stout to the country’s first all-black ad agency, HerdBuoys. A series of advertisements that successfully combined images of black urban success with rural tradition—and milk stout drinking—sent sales soaring again, to 100,000 hectolitres (84,000 US barrels) a year. By 2003, Castle Milk Stout was the fourth biggest liquor brand in South Africa, and the second biggest stout brand in the world. Its production still included roast malt added in the mash tun, unlike Guinness, which had long gone over to using an extract of roasted barley, added post-mash, and other tweaks peculiar to making Castle Milk Stout, including adding caramel alongside the lactose, crash-cooling the fermentation to encourage the yeast to produce stop the yeast mopping up diacetyl, which increases the “butterscotch” flavours in the beer, and a lager-like maturation at -2ºC.
By 2011 Castle Milk Stout was available in a nitrogenated draft version, though it is still most often found in 75cl bottles and in cans. However, in the winter of 2014 SAB introduced “ultra-smooth” milk stout in a nitrogenated can, and also a limited-edition “chocolate-infused” 4.5 per cent abv version of Castle Milk Stout, which came back as a regular variant the following year, again available in 75cl bottles. This, together with “repositioning” the brand as a “premium” product, and whites picking up on the brand as the growth of craft beer made them more aware of “unusual” beer styles, helped push sales up 14 per cent year-on-year. It has still been maintaining its “traditional” image in South Africa, however, with promotions that included printing tribal clan names, and clan praise songs, on the cans. The brand has also moved abroad, capturing market share from Guinness in Nigeria, where stout makes up 14 per cent of the beer market, and also being brewed in Tanzania, Ghana, Uganda and even South Korea.
This is a glass of something called Herr Axolotl, from Ale Browar of Poland, bought in a bar in the charming city of Wrocław. It is described as a Berliner Weisse with guava. I struggled very hard to find anything at all about it that might deserve the name “beer”. It looked like cloudy apple juice. It tasted a lot like very sour cloudy apple juice. It certainly didn’t taste as if it had ever been in the same postcode district as a hop. As I went further down the glass, there was something nasty lurking in the background, harshly sharp and unpleasant. I have become Old Man Yells at Cloudy Beer.
Nine days in Poland, on a return visit four years after I first travelled to the country to check out its craft beer scene, involved meeting large numbers of friendly, enthusiastic Polish craft brewers, beer geeks and bar owners and drinking considerable quantities of beer in an expansive range of styles, almost all of it of it well-made, some of it absolutely fascinating, rare and thrilling, and some of it pushing the envelope so hard it rips. I used to think I was on the far-left libertarian wing of the beer world, able to accept pretty much anything brewers came up with. But after walking into several Polish craft beer bars, looking at the menu on the wall, filled with opaque sours, fruit ales, vanilla ice-cream IPAs and the like and wondering if I should ask: “Um – do you have any beer-flavoured beer?”, I realise that I’m not actually as liberal as I thought, and that there is a line which, once crossed, I find myself saying: “You may be a brewer, but that’s not a beer.” Too many brewers, it appears, are chasing novelty at the expense of a decent drink.
Much of the reason for this realisation arriving in Poland rather than, say, Hoxton comes from the fact that the Polish craft beer scene is driven far more, I think, than other countries’ by novelty, which in itself is an artefact of the fact that the Polish craft beer scene is hugely enthusiastic but tiny – still less than one per cent of what is, admittedly, the third biggest beer market in Europe – which itself is down to the cost of craft beer compared to mainstream beer. A 50cl bottle of Tyskie is three or four złoty, when it’s 4.8 złoty to the pound. A bottle of craft beer is four times more expensive. Poland is still not a rich country, and most people can’t afford craft beer. Meanwhile those craft beer drinkers who do exist want something different every time they go up to the bar, which puts pressure on bar owners, who put pressure on brewers, who are aware enough about what goes on in places like the US to use trends such as New England IPA and barrel-ageing and souring and fruit beers to come up with an ever-changing variety of new products flowing from the fermenting vessels.
I was lucky enough to visit Browar Palatum, now three years old, the only proper brewery actually in Warsaw, a city of 1.8 million people, where the owner, Łukasz Kojro, told me he makes more than 300 brews every year, each one different, because that’s what the market demands. Almost all of Palatum’s production is draught – the brewery has only a small hand-bottling side – and Łukasz is able to sell all he makes across Poland, even though the market is comparatively so small, and there are now some 250 actual craft breweries open and another 150 “cuckoo” or contract brewers using other people’s kit. Something helping Polish craft brewers is that because of the price problem, there is very little craft beer imported into Poland from outside: it’s too expensive.
But constantly having to think up new beers means that, inevitably, you’re going to get some that aren’t beers at all: at least not beers according to the definition I now find myself formulating after my Polish experience. This is, of course, pretty majorly subjective, and based almost entirely on what I like about beer and why I drink it, but it does have some grounding in measurable facts. A hopped cider, for example, is not, I hope, by anybody’s definition, a beer: nothing wrong with hopped cider, I’ve drunk some and it was good, but no grain, so not a beer. Similarly, just because it contains grain and hops, that doesn’t make it a beer automatically: if you can’t taste either grain or hops in the glass then I am very reluctant to call it a beer. If it tastes mostly of fruit juice, if you’ve put 600kg of mango into the fermenting vessel, as one Polish brewer boasted to me, then what you’ve got is fermented mango, that is, fruit wine, and not beer. If you drink it and enjoy it, fine, but I reserve the right to say: “No thanks, I like drinking beer.”
Let us not, however, give the impression that the Polish craft beer scene is entirely the preserve of the wild and the weird. There are plenty of straight-up, solid brews, from very good pilsners to fine pale ales. I particularly enjoyed reacquainting myself with the Pinta brewery’s Atak Chmielu (Hop Attack), 6.1 per cent abv, 69 IBU which was the first ever commercial “Polish craft beer”, in 2011, and which, when it appeared, blew every Polish beer drinker’s socks off their feet and away over the horizon. It’s now venerable enough to be described as “old-fashioned” after only eight years, but it’s an excellent American pale ale, and a safe call in any bar selling it while you contemplate what weirdness to try next.
Pinta, based way down in the south of Poland, 40 miles south-west of Krakow and 11 miles from the Slovak border, has grown from being a contract brewer to one of the largest independents in Poland and one of the thriving stars of Polish craft beers, along with Stu Mostów (“Hundred Bridges”) and Profesja of Wrocław, both of those only five or so years old, both, like Pinta, producing very well-made beers.
There are newer brewers doing impressive stuff too: Cześć Brat! (which means Hello Brother!, and which, surprise, is run by brothers Grzegorz and Michał Malcherek in the town of Jelcz-Laskowice, 15 miles south-east of Wrocław), for example. You’ll find one or two handpumps tucked over in a corner in many Polish beer bars, and one of the beers I kept finding being served on handpump when I was there was Cześć Brat’s 4 per cent abv tonka bean milk stout, Coś na Wieczór?, which means “Something for the Evening?”. Interesting beer flavouring, tonka beans, they contain a big hit of coumarin, which gives a similar taste and aroma to woodruff, and they’re also quite bitter, which in this case nicely counteracts the sweetness of the milk stout. (Cześć Brat!, as an aside, is another Polish brewer with terrific graphics, produced by a well-known Polish graphic designer: the brothers loved her work and wrote to her saying: “We’re only a small, poor brewer, but what do you charge?”, and she wrote back saying: “I like the idea of working for a brewery, so I’m not going to charge you very much at all.” Don’t ask, don’t get.)
The Hopium brewery, from the village of Nowy Drzewicz, south-west of Warsaw, won my unofficial prize for “best beer name of the Wrocław beer festival”, with Michaił Jakson, a “white Imperial Russian Stout”, not, you’ll conclude, a nod to the late beer writer. The beer was a bit of a Thriller, too: a strong (8.5 per cent abv) pale ale with coffee infused in during maturation, which I wouldn’t have expected to work had I not tasted it and enjoyed it. Hopium gives all its beers “celebrity pun” names, such as Al Apacino, an APA, Danny De Wheato, and Kwasko Da Gama, a fruit sour ale, kwas, pronounced “kvas”, being the Polish for “sour”. Quite a few of the beer names are puns on Polish celebrities unknown across the Oder, which puns obviously don’t travel. At least one, a mango fruit ale called Vincent ManGogh, is based on a mispronunciation I couldn’t bring myself to tell them about (for Americans reading this, it’s Van GOFF, not Van GO).
The beer I was most thrilled to discover, though, was one I had travelled to Poland specifically to find: Jopejskie, a revival of an obscure, strange, fascinating Polish beer style, more than 500 years old, which, bizarrely, was brewed in the North of England under the name Black Beer until 2013. I knew the Polish contract brewer Olimp had a version on sale in 100ml bottles, but as I wandered the Wrocław festival, where the 50-plus stalls are almost all run by the brewers themselves, I spotted that the Świdnica brewery, from the town of the same name some 30 miles south-west of Wrocław, was selling Jopejskie on draught – at 35 złoty (£7.30) for 10cl, when other beers were 10 to 13 zloty for 50cl. To save you turning on your calculator, that’s 13 times more expensive, and the equivalent of £41 a pint!
Not that you could possibly drink even half a pint: it was “only” 9 per cent abv, but had started out at a barely believable 50º plato, which if my maths is right is all of 1233 OG, and suggests a FINISHING gravity of around 1164, higher than almost all other strong beers begin at. Olimp is apparently very secretive about how it brews its Jopejskie, but Rafał Harchala of Browar Świdnica was entirely happy to tell me all: he starts with a strong Russian Imperial Stout wort and then boils it for 24 hours (24 hours!), to end up with something closer to tar than wort. This is then pitched with a standard lager yeast – the well-known 34/70, I believe – and left until the lager yeast cells wave the white flag, after which the brew remains in an open vessel for any wild yeasts to have a go if they think they’re hard enough. Finally the beer is kegged: the batch at the festival had been made in October last year, and was thus eight months old..
Even the wildest of wild yeasts eventually give up, however, and what is left is still sweet and treacly – and delicious. I confess to a tingle in my feet when I drank this: liquid history, chewy, powerful, filled with dark, deep flavours, simply fabulous. One of my best beer experiences of the past few years. Later I managed to find the Olimp version on sale in a shop in Krakow (39 złoty per 100ml bottle: I saw it in a bar for 49 złoty), and a very kind Polish-based home brewer, Tomasz Spencer, gave me a bottle of his home-brewed Jopejskie. So that’s three different versions of a beer I never thought I’d see: amazing.
There were some disappointments, and ironically the worst beer I had was in a brewpub in Krakow that claims to brew the finest British-style cask ale. Michael Jackson (the beer writer, not the inspiration for a white RIS) held to a philosophy that it wasn’t his job to be unpleasant to people, but to encourage everybody, so perhaps it might be kindest to draw a discreet bartowel over these failings. But frankly, if you’re selling a “cask-conditioned bitter” you call “England’s Glory” to Poles, it really needs not to taste of unfermented wort and lack all condition. I tried the porter, to see if this was just one poor cask, and it was barely better: thin, little condition again, sweetcorn on the nose and something nastily sharp lurking in the background.
But apart from that, I had a terrific time: if you like beer tourism, Poland is now an absolutely must-visit destination. The Wrocław beer festival, outside the football stadium a tram-ride from the city centre, is one of the best in Europe, well-organised, a great selection of dozens of different Polish breweries, and a fine range of Polish street food to mop up the beer. The beer bars, in Krakow and Warsaw in particular, are almost uniformly excellent, and if the selections of beers are almost entirely Polish, well, those beers are good enough, and varied enough, that you won’t miss anything. Among the places I particularly enjoyed were Hoppiness, in the aptly named Chmielna (“Hop Street”) in central Warsaw and Maryensztadt in Warsaw Old Town; and Omerta in Krakow.
Many thanks to the guys at Crookham Travel for organising the travel around Poland and brewery trips in Wrocław and Krakow, and Tony Fox-Griffiths in particular for his impeccably researched guides to bars in those two cities; to Tomasz Kopyra and the crew at Festiwal Dobrego Piwa for the free beer and hotel accommodation in Wrocław (and more brewery trips); and to Tom Spencer for giving up his time to take me on a bar crawl of Warsaw. and organising yet another brewery visit. See you all again soon, I hope.
That’s another one crossed off the bucket list … standing in a “live” floor maltings, watching the chemical magic that is barley enzymes turning starch into sugar in many millions of little seeds, all spread in a carpet four inches deep and probably 60 yards long and 15 yards wide. I grew up in Hertfordshire, where long, narrow maltings buildings can be found in most towns: there was one next door to my school, which had been acquired as overspill classrooms, so I can say I absorbed some of my education where malt was once made. I’ve been in plenty of disused floor maltings over the decades, in the UK and abroad, and I’ve seen a Saladin drum maltings in action, but never, until last Friday, a working floor maltings where malt is made in a way basically unchanged from the way it was made a thousand and more years ago.,
What I wasn’t expecting on the joint Brewery History Society/Guild of Beer Writers trip to Crisp’s maltings in Great Ryburgh in Norfolk was to be allowed inside the kiln, where the malt, once it has germinated enough, is dried off. These pyramidal structures, often topped with cowls that turn with the prevailing wind, are again familiar to anyone who has ever visited Ware in Hertfordshire, once the greatest malting town in the country, or Burton upon Trent, where multitudes of breweries had their own maltings. They are – or at least the one we were taken into – surprisingly spacious inside. Less surprisingly, it’s hot: but not that hot. To make properly dried pale malt takes about two and a quarter days of gentle heat. Too hot, to try to speed life up, and the malt will be too dark.
Next up, though, was a wonderful piece of 21st century malting kit just installed at Great Ryburgh, the Speciality Malt Plant, the only one of its kind in the UK, and so new its products are not even on sale yet: two 20-feet-high towers wrapped in spiral tubes that take raw malt and then toast, roast, stew or bake it to produce the complete range of coloured malts, from amber through brown and chocolate to black. The towers will also make crystal malts and other speciality malts, continuously, at a rate of 1.5 tonnes an hour, with the kind of control over the colour of the final product impossible using batch production methods.
Each tower has two off-balance electric motors attached that vibrate the assembly, shaking the grains of malt up the spiral tubes. In the tubes the grains are blasted with heat as they rise, making them darker and more toasty/roasty, with the changes in flavour – coffee, chocolate, burnt raisins, even liquorice – that come with browning the malt. (Malt trivia: so-called “chocolate” malt doesn’t have chocolatey flavours, but coffee-like ones: the name comes from the colour. Chocolatey flavours are more likely to be found in brown malt, one step backwards down the level of roasting.) As the first grain comes out the other end, after 50 minutes or so, its colour can be checked against spec, and the heat adjusted as needed for the rest of the run. Water can be injected into the first tower, which will mean green malt can be stewed on its way through and then converted into crystal malt. The system was originally designed by a Frenchman to dry wood pellets for burning in power stations, but is now used for everything from drying almonds and other nuts to roasting coffee.
It all starts in a field, of course: and on the way back to Norwich our mixed group of hacks and historians took a side trip to the Maris Otter mother field, at a secret side “somewhere in Norfolk”. This is where seed is grown up in the first year of a four-stage process to produce the grain that is sold to farmers who grow the barley that is turned into malt that craft brewers around the world love because of the way it handles in the mash tun and because of the way the beers it produces develop in the cask. But why does it need a mother field? Because all organisms, if not watched, will fail to breed true, and in a few generations, with 36 seeds per head of barley, bouf! No more pure-bred Maris Otter, with all the genetic characteristics so many brewers love.
So the “mother field” seed actually comes from a one-hectare plot that has been rigorously vetted to ensure everything harvested from it is pukka pure seed of exactly the sort released by the Plant Breeding Institute in Maris Lane, Trumpington, near Cambridge, back in 1965, and the plants in the mother field will be vetted again: at least one mutation is found every year, and the offending barley plant pulled up out of the soil, taken round the back of a hedge and shot in the head. (More malt trivia: among the other varieties of barley released by the Plant Breeding Institute in the 1960s was one called Maris Baldric, which appeared on the agricultural stage in 1961: alas, it was a cunning plan that lacked longevity, and Maris Baldric eventually disappeared. A baldric, to save you looking it up, is a sword belt, the sort that goes over one shoulder and diagonally across under the other arm.)
All this trouble is necessary to get the required certificates that allow the seed to be sold to farmers. Maris Otter’s popularity among specialist brewers means that it has lasted as a commercial variety almost 55 years, though it came close to disappearing at one point, and its low yields in the field mean farmers have to be paid a premium to grow it. Still, there are plenty who will proclaim that Maris Otter grown in Norfolk soil, comparatively poor glacial till over chalk, and nurtured by Norfolk’s dry, sea-influenced climate, is a tough upbringing that results in the best malting barley in the world.
And they’ve been malting barley in East Anglia for more than two thousand years, probably. Under King Cunobelin, the Catuvellauni minted coins in Camulodunum, modern Colchester, that showed what was pretty clearly an ear of barley on one side. If the Iceni, their neighbours to the north in modern Norfolk, were not also growing barley, and turning it into malt, that would be surprising. We know the Angles, who took over in the 5th century AD from the Iceni, or what remained of the Iceni after 400 years of Roman occupation, certainly malted, because a malthouse has been excavated in the last few years dating from the Anglo-Saxon period, around 800 AD, near the north-west Norfolk village of Sedgeford, 12 miles north of King’s Lynn. After learning about modern malting in the morning, the BHS/BGBW learnt about ancient malting in the afternoon, in a session with archaeologist Neil Faulkner, who has been uncovering the oldest known malthouse in Britain.
I think most archaeologists would accept that archaeology has, with a few very honourable exceptions, not been very good until quite recently when dealing with the evidence left behind by ancient malting and maltsters. Many archaeologists working on digs didn’t understand how malting worked, they didn’t understand the processes – steeping, couching, spreading on the malting floor, drying – and what structures were required to house and facilitate those processes, which meant they couldn’t work out what they were finding in the ground actually meant. In particular they were operating under the misapprehension that the kilns used to dry the malt were outside in the open, and they didn’t grasp that the malt to be dried would be on a floor above the kiln, lying, probably, on a haircloth, in a two-storey structure.
Now, under prodding from those few archaeologists with actual experience of malting and brewing, such as Merryn Dineley, the archaeological mainstream is getting a lot better at seeing holes in the ground and working out what those holes mean in terms of ancient malting buildings. This has been helped at Sedgeford by the nature of the site: the maltings sat in a gully, and when it was abandoned it was swiftly covered with hill wash. That meant it was buried deeply enough for modern ploughing not to strip much of the archaeology away, as normally happens, meaning that the holes that represented where the clay-lined steeping tank was, where the kiln once was, where the posts that held up the building where the malt was dried were, are better preserved. So is other evidence such as the flat floor of baked clay that would have been used for germinating the barley after steeping and couching, burnt grains of malt, where the drying got out of hand and the toasting went too far, and burnt daub (as in wattle-and-daub), where the drying got really out of hand and burnt the whole building down: fire has always been a risk in maltings, and it looks as if, during the life of the Sedgeford maltings, it may have burnt down and been rebuilt two or three times.
What there isn’t is evidence for is brewing: what happened to the malt made at this maltings, which was a substantial operation, remains unknown. Three hundred years later, at the time of the Norman conquest, long after the 9th century maltings had vanished under the soil, two manors at Sedgewick were in the hands of Ægelmar, or Aylmer, Bishop of Elmham, 20 miles to the east, which was then where the diocese covering East Anglia was based. Within 30 years or so of the conquest the see was transferred, via Thetford, to Norwich, and in the 12th century, those two manors at Sedgeford were in the hands of Norwich Cathedral Priory, with malt from a later maltings at Sedgeford going to make ale for the monks at the priory. Was the ninth-century maltings, now being explored by archaeologists some 1,200 years on, built by the church? Probably, Neil Faulkner thinks …
To go with the talk on Anglo-Saxon maltings (just Angles on their own, strictly, of course, the Saxons, or East Saxons at least, being down south of the Stour) we had some reconstructed Anglo-Saxon ale, brewed with malted barley, wheat, oats and rye, flavoured with bog myrtle, sage, nettle tops, ale hoof and liquorice root and fermented with a Belgian yeast. I’ve no problem with the mixed grain bill, since brewing with oats, barley and wheat together was certainly happening in the medieval period, but all those herbs together, I suspect, was at least three and probably four too many: possibly even five too many. There are hints that brewers in Norwich at the end of the Middle Ages were using bog myrtle: I’d have just stuck to that, it grows locally and it was widely used in pre-hop brewing. And maybe a Norwegian farmhouse yeast …
But that wasn’t the only fun at the seminar. We got to taste “malt tea” made from various types and grades of malt, courtesy of Crisp’s, which is a far better was of assessing and appreciating malt flavours than chewing the grains: crush the malt, pour water at 60ºC over it, let stand, serve. The Maris Otter tea was lovely, real depth of flavour, and the teas made from different grades of crystal and dark malts highly instructive. Crystal 150 still had a lot of biscuit evident, but with a bit of toffee too. Crystal 400 had tar, treacle and burnt raisins: this is the stuff for your hefty stout. Brown malt had the chocolate flavours, but the tea with 40 per cent black malt was the revelation: smoke, coffee, liquorice, masses of character. It would, I suggested, make a fabulous ice-cream ingredient.
We also had a talk from Chris Ridout of the John Innes Centre, the man who reintroduced Chevallier*, once one of the most popular malting barleys in the world in the 19th century. Dr Ridout revealed that the next heritage barley variety to be released will be Plumage-Archer, which I find terrifically exciting. Plumage-Archer itself is actually almost a century younger than Chevallier, first seeing daylight in 1905 courtesy of the Warminster maltster and barley breeder Edwin Sloper Beaven, but as the name implies, it is a cross of two (much) older varieties, both of them “landrace” types. Plumage comes from Sweden, where it was known as plumage-korn from at least the 1760s, while the birthplace of Archer is lost in the early mists of a summer’s day many centuries back: Beaven, who literally wrote the book on barley (Barley by ES Beaven, Duckworth, London, 1947), said he had “never been able to ascertain [its] origin,” (it was known in some places as “Archer’s”, which suggests a possible association with someone called Archer) but it was “probably the old common English narrow-eared barley of the country” – meaning if you want a barley type similar to the sort that 18th century and earlier brewers used, then one with Archer in its parentage is an excellent choice. I greatly look forward to tasting recreation brews made with Plumage-Archer: truly, this is a wonderful time to be a beer drinker.
Many thanks to the BHS, the BGBW’s Susanna Forbes and Ros Shiel and Frances Brace of Red Flame for organising the event, Crisp Malt and Greene King for helping to support it, and the Georgian Townhouse in Norwich for being the hosts.
*Malting trivia three: I had a chat with Dr Ridout after his talk, in which the spelling of Chevallier came up: the family name of the man who developed the strain was Chevallier, but the habit seems to have grown up in the 19th century to call the barley Chevalier, apparently to differential man and plant, and ES Beaven, writing in the 1940s, deliberately and carefully wrote about Chevalier barley and the Reverend John Chevallier of Suffolk, who introduced it to an eager world. When the John Innes Institute reintroduced the variety seven or so years ago, they had to choose which spelling to adopt when registering it, and decided to go with two Ls, on the grounds that, as Dr Ridout said, that was the way the Reverend John spelt his name. So, strictly, from a style guide POV, if you’re talking about the family, Chevallier; if you’re talking about the barley variety in a 19th or 20th century context, Chevalier is permissible, because that’s the version farmers and maltsters themselves regularly used; if you’re talking about the revived 21st century version, Chevallier. Although frankly …
A few years back, when I was still involved in hospitality trade journalism, I would get occasional invites from Carlsberg to PR gigs. One was to Wembley to see England play San Marino. The match itself was the predictable turkey-stuffing (5-0) but it was the entertainment beforehand we were particularly supposed to appreciate: Northampton’s Danes had taken over part of Wembley town hall and turned it into an “If Carlsberg did pubs” pub, with unlimited free pints of lager delivered on sushi-style conveyor belts, the Lightning Seeds as the pub band and Ian Wright, Paddy McGuinness and Jeff Stelling as pre-match pundits. It was quite fun, as quite fun goes, but the big drawback was the beer: Carlsberg.
I don’t have anything against big-corporation beer in itself, but I do have a big problem with dull beer: I can’t drink it. I have a very low boredom threshold with food and drink (and most other experiences, actually) and I would literally rather drink nothing than drink more than a couple of pints of beer with no interest. And that Carlsberg: it wasn’t actually bad, or faulty, it was simply a cypher, a blank hole where beer should have been. There was no pain in drinking it, but it was a hedonistic vacuum that actively repelled me, that made me not wish to experience this beery nothing.
The one upside, I thought, was that at least I wasn’t going to get embarrassingly drunk on free beer, since I couldn’t bring myself to bring it near my mouth. So I waited, faintly bored, until the drinking was over and we could go and watch the match – which was a similar sort of experience to the beer, ironically. Had it been a ten-nil walloping, that would have been good to watch. Had it been decent opposition, that would have been good, too. But five-nil against San Marino, a country with a population the size of Letchworth: meh.
So: come forward to the present day, and the Cobblertown-based Danes are now apparently admitting that, indeed, their beer really hasn’t been up to much: the San Marino of beerdom. In the run-up to a relaunch last month of the basic 3.8 per cent abv “Green” Carlsberg, the company started retweeting tweets from drinkers comparing the beer to drinking stale breadsticks, or the bathwater your granny died in, using the increasingly popular “beat us, we’re bad” strategy marketeers seem to think makes consumers love them because they’re apparently being deeply honest, for a change. Then its VP of marketing in the UK, Liam Newton, pulled on the sackcloth, dumped a pile of ashes over his head, threw himself on his knees and wailed: “At Carlsberg UK, we lost our way. We focused on brewing quantity, not quality; we became one of the cheapest, not the best. In order to live up to our promise of being ‘probably the best beer in the world’, we had to start again.” Actually, Liam, you used to say “Probably the best lager in the world”, you little fibber, not least because prosodically the two beats of “lager” make for a better-sounding slogan that the single beat of beer: cretic, trochee, spondee, cretic rather than the clunkier cretic, cretic, cretic,
Green Carlsberg is now calling itself a Danish pilsner, rather than a lager: presumably “consumer feedback” suggests “pilsner” sounds posher. Poor Bhavya Mandanna, head brewperson at Carlsberg UK, ventriloquised the following nonsense, courtesy of Carlsberg’s PR people: “Our new Pilsner has a fuller body and a perfect balance of bitterness and sweetness made possible through modifications to our brewing process and the addition of bittering hops in the brewhouse.” Wow, they’re adding bittering hops in the brewhouse! There’s innovative! Tell us more, Bhavya, and let’s see if you can say it while the PR man sits you in his knee with his hand up the back of your jacket as he swallows a pint of supposedly perfectly balanced lager: “Aroma hops with citrus and floral top notes give a greater depth of flavour whilst maintaining the light and refreshing qualities of Carlsberg.”
Enough guff. Just because PR people make it appear you’re as filled with marketing bollocks as they are, it doesn’t mean you’re automatically a bad brewer. It’s only fair to put Bhavya’s new-style Green Carlsberg in a taste-off to see how it performs. I decided to pair it against Camden Town’s new “Weeknite Any Day” lager, a 3 per cent beer I suspect only escaped being called “Everyday lager” because that would have given the Portman Group the blue giptions for suggesting you could drink every day. And the result is (the envelope, please …)
The result, I’m actually disappointed to say, is exactly what a cynic might expect. The “new” Green Carlsberg, selling for £1 a 33cl bottle in your local corner offie (that’s £1.72 a pint), is scarcely less dull than its previous incarnation. It smells of almost nothing. It tastes of almost nothing. There’s a faintly meaty, metallic aftertaste that lingers for too long. More flavour comes through as the beer opens up in the glass, but so does a bitterness just hovering on the edge of unpleasant. A slight malt sweetness is present, but the main sensation is of something massively watered down. I’m bored even thinking about it.This is NOT the future of beer, and Carlsberg are only wasting time on what should be a controlled rundown of a beer in terminal decline.
Camden Town’s Week Nite, though, is a little bit of a revelation. It’s one of a growing number of what might be called “floral” or “fruity” lagers, cold-fermented beers made with hop varieties more normally associated with warm-fermented American IPAs: Galaxy, a strongly flavoured Australian hop with lots of tropical fruit/peach aromas, Topaz, another Australian hop, with hints of clove and lychee and Mosaic, from the US, with more tropical/floral/citrus flavours – that are becoming increasingly popular – see, for example, Guinness’s Hop House 13, very likely to be already on a bar top near you just three years after its launch.
What this new style of lager is delivering is taste, something that, 20 years after the American IPA revolution, is finally becoming a mainstream demand, plus “cold refreshingness”’ something beers such as Carlsberg once had tied up and held down on the ground, but which is no longer enough. What Week Nite is delivering as well is relatively low alcohol: it used to be that a three per cent beer would have to be made with roasted or high-dried malts, like a brown ale or a dark mild or a sweet stout, to deliver flavour. Brewers are now discovering that it is possible to deliver flavour in a low-gravity beer with American-heritage hops:
Week Nite has Motueka, a New Zealand hop with Saaz in its family tree but also NZ hops to give a distinctly tropical fruits aroma, and Centennial, one of the classic American “C-hops”, adding more citrus flavours, as whirlpool hops, and it is then dry-hopped with Motueca and Centennial again, plus Cascade, another citrussy American C-hop, and left unfiltered and unpasteurised – but moves likely to increase the flavour in a low-gravity beer. The result is a somewhat austere beer with a restrained mango, physalis and passionfruit nose, mango juice in the mouth, just enough bitterness to hold it all up and the body of an ultra-marathon runner: not so much thin as wiry. That sounds harsher than I mean to be on this beer: for a three per cent alcohol brew it stands up very well, and it should hit the target market, people wanting something tasty that won’t lay them out, right in the eye. The 33cl can represents exactly one UK unit of alcohol: pace yourself and you could drink one of these every 40 minutes while staying totally sober.
You don’t have to stare too deeply into a beer-filled crystal ball to predict that (1) there will be a constant flow of launches of floral/fruity lagers, in the wake of Hop House 13, and (2) this poses big problems for the “standard” lager giants, who can’t reformat their existing beers, for fear of alienating their existing drinkers, but who are not recruiting new drinkers in enough numbers to maintain market share. The “lager louts” of the 1980s are now, to revive an old joke, becoming Saga louts, 30 years on, as they close in on their 60s, and nobody aged 18 wants to drink the beer a 60-year-old drinks. It looks like Carlsberg’s pet British micro, London Fields, has already had an attempt at a “fruity” lager with the launch of Broadway Boss, using a “traditional” hop in the boil but “a new American variety in the whirlpool to give it a lemony zing.” Unfortunately the whole first batch has had to be recalled after high levels of DMS in the final product, but they’ll be back …
What, then, do AB InBev and Heineken do, with so much invested in Stella, Budweiser, Fosters and the rest? Will we see the launch of Stella floral, of Fosters fruity, or will they try new brands entirely, using, perhaps, their recently acquired “craft” breweries as cover? Those of you at the back shouting “Camden Town is owned by AB InBev!” – yes, exactly. What we have here with Week Nite is a floral/fruity toe in the lager by AB InBev’s marketers, to see if anybody bites. If it doesn’t work, no problem: no embarrassment for the big brands. If it does, then woo-hoo, roll that baby out round the distribution network.
And on cue, *ding* into my email intray today comes a release from Shepherd Neame about its new Bear Island Triple Hopped Lager, hopped with Saaz, pretty much the standard “noble” lager hop, from Bohemia, somewhat herby, but also Challenger, a British hop with a touch of orange marmalade, and, that one again, Mosaic, for the floral/tropical/citrus delivery. There’ll be plenty more along soon.