I have found a beer women will like – and, ironically, it’s pink

Oh, irony. It’s only a very short time since I mocked Nick Fell, marketing director at SABMiller, for sharing with us, in a presentation about getting more women to drink beer, the “duh, really?” statement that “no one wants a pink beer, including ladies.” But now I have discovered a beer I’m sure very many women will like – and it’s pink.

Not that they’ll like it because of its colour, of course: they’ll like it because it’s a very fine beer, with great depth and complexity of flavour, a beautiful deep bassoon-like bitterness (in contrast to the violins-and-saxophones bitterness of hoppier beers) giving structure to a sweetness that is laced through with liquorish and dark green herbal flavours. How do I know women will like it? Because when I sampled a bottle myself, right after thinking: “This is an extraordinarily good beer”, my next thought was: “I bet Mrs Z would enjoy it” – and not only did she enjoy it greatly, she relieved me of the rest of the bottle, consuming it all herself. Mrs Z is rarely a beer-drinker, touching only the very occasional pils and the even more occasional wheat brew. So if she loves a beer that I think is great too, you can bet we have a genuine cross-party vote-winner.

It's pink, but this ain't no Barbie brew

It’s pink, but this ain’t no Barbie brew

What is this beer? It’s Crazy Viking, one of the brews I brought back from my trip to Denmark last month to talk at the conference on Ny Nordisk Øl, or “New Nordic Beer”, it’s made by Det Lille Bryggeri or Little Brewery, from the small village of Bringstrup, just outside Ringsted, in the middle of the Danish island of Zealand (the one Copenhagen sits on), and it’s a deep ruddy pink because it contains considerable quantities of beetroot (red beet, to Americans) and beetroot extract, added both into the wort before boiling and in the fermentation tank. It also has in it masses of liquorice and nettles, those two giving most of the bitterness, I’m guessing, and only an “extremely limited” amount of hops. Beetroot is about seven per cent sugar, of course, and doubtless that helps to lift the abv of the beer up to 7.9%.

Det Lille Bryggeret’s brewer, René Hansen, has made beers with beetroot as his contribution to the New Nordic food and beer culture movement: the first, with just beetroot and nettles, was called Red Viking, and the one I drank (until Mrs Z stole it from me) has liquorice as well and is called Crazy Viking. It’s the second New Nordic Beer movement-inspired brew to completely blow me away, after the Hø Øl (hay ale) from the Herslev Bryghus I mentioned here (more irony: the Herlsev guys are now having to fight their local bureaucrats, who are trying to ban them from putting hay in their beer on the grounds that it’s not a listed food ingredient under EU regulations. I’ve sent them a copy of a page from Thomas Tryon’s book published in England in the 1690s that mentions hay ale, to show it’s an old tradition – hope it helps, it’s a marvellous beer.)

Crazy Viking logoI’m not sure the Crazy Viking beer name would recommend itself to women drinkers, and nor, probably, would the beer’s bottle label, with its image of an utterly sloshed Viking, one helmet horn drooping. But the liquid itself is an example of what a number of people have suggested since Nick Fell raised the spectre of the missing female beer drinker again back in October: that if there is going to be a style of beer that will appeal to a broader spectrum of women than drink beer now, it certainly won’t be one made by a giant corporation setting out deliberately to capture that market, and it’s much more likely to be the result of an accidental spin-off from a craft brewer or group of craft brewers, like the Ny Nordisk Øl crowd, making a beer that everybody agrees is great, regardless of gender.

Which gives me an excuse to rerun on this blog the dreadful history of the efforts brewers in the UK have made – unsuccessfully – to target women drinkers for three decades, sometimes with, yes, pink beer. For the history of beer marketing is littered with the smoking wrecks of attempts to get females to drink more beer, dating back to the 1980s.

Older readers will remember Allied Lyons, once one of the “Big Six” giants that dominated the British brewing industry until the 1990s, owner of Tetley’s bitter, Double Diamond and Skol lager. They probably won’t remember Bleu de Brasserie, a “lager for women” that Allied launched in 1986 with a huge marketing push, posters on the London Underground and the rest. It was meant to appeal specifically to female drinkers. It came in blue bottles, each with one of four different, stylish labels. And just like every attempt to market a specifically female beer since then, it sank within a short time of its launch, disappearing within a couple of years.

Miller Clear adOther pre-Millennium failures to find beers women would like included Lacons lager and lime in the late 1980s, from Whitbread, when it was still a brewer; Miller Clear, from 1993, in which Miller allegedly “happened upon” a filtration process that takes out a lot of the carbohydrates and, with them, the colour, supposedly improving the beer’s “drinkability”, except nobody found it particularly drinkable and it disappeared within months; Anu, a nitrogenated beer named for the “ancestral mother of the Celts”, launched in the United States in 1999 and a year later pushed out to an utterly uninterested Scotland; and Carling Rock Filtered Beer, launched in 1998 at “men and women in the 18 to 34 age range” and backed by a £5m ad campaign that was more money poured down the pissoir. There was also Whitbread’s disastrous GB lager, launched in 2000 with an appeal that was meant to be “unisex” but which never got further than its regional test markets.

In 2003, Paula Waters, Camra’s new woman chairman, used the Great British Beer Festival to urge big brewers to launch a beer specifically targeted at women. But as Pete Brown pointed out at the time: “They already have, several times. Every time, they failed. The truth is that the world just doesn’t divide into pink and blue. Women like beer. More women could be persuaded to try beer. But women like beer in spite of, even because of, the fact that it it’s not aimed directly at them. They drink beer when they’re feeling a bit laddish, or just when the mood and the occasion are right. Similarly, wine producers did not have to go through a process of making their product macho to persuade men to drink it in ever-increasing numbers, they just positioned it so that blokes would find occasions when it was more appropriate than a pint. A beer aimed at women just wouldn’t feel right, like one of those creepy blokes who has no mates of his own gender.”

This wise observation failed to stop brewers continuing to pursue the mirage of the female-friendly beer. In 2004 Interbrew, as was, launched a beer in France called Extra Kriek, a version of a cherry beer already on the market in Belgium, with a recipe that was said to “take out the bitterness and accentuate its fruitiness”, this supposedly making it more attractive to women’s tastes. Interbrew said it had taken inspiration from the cosmetics sector in launching the product, which was packaged in red plastic film and marketed in women’s magazines under the slogan “At last, a beer for women”. A decade on, you’ll have noted, the product has failed to release armies of kriek-drinking females.

The following year, 2005 Anheuser-Busch brought out BE – “Bud Extra” – a version of Budweiser with caffeine, guarana and ginseng in a black glass bottle “aimed at both male and female drinkers”, and described as having a flavour “reminiscent of beer with a raspberry, blackberry and cherry aroma that delivers a beer with a sweet taste”. Jim Gorczyca, then Budweiser’s UK marketing director, said: “It’s a new and refreshing choice for consumers.” Unfortunately the drink turned out to appeal to teenagers more than women, and it was withdrawn in 2009 as part of a general clampdown on caffeinated alcoholic drinks.

Charli: I really don't want to think about what they believed they were doing with the shape of that fount

Charli: I really don’t want to think about what they believed they were doing with the shape of that fount

The urge to try to find a female beer market was driven, of course, by the decline in the male beer market, with sales falling, and the observation that only 10% of women in the UK were regular beer drinkers. In 2007 Cobra attempted to capture the female beer market with the launch of Cobra Bite, a “fruit-flavoured premium lager range” in four varieties – sweet lime, blood orange, apple and lemongrass – aimed at 25 to 35-year-old women. It was withdrawn after only a couple of years. Also in 2007, it was revealed that Heineken was testing a new “cider-based beverage” called Charli, aimed at women, and made from cider, barley malt and sparking water, with an abv of 5%. Marketing magazine wrote that it was being tested in bars in the Netherlands on tap and in bottles and “if successful, drinks industry observers expect it to roll out in the UK next summer.” It wasn’t, and it didn’t.

Coors had two attempts at marketing pink beers in 2008: Kasteel Cru rosé, a variation of the Kasteel Cru “champagne beer” brand made “with a hint of elderflower and elderberry”,  a joint idea developed with Brasserie Licorne, which made the beer on Coors’ behalf (elderberry, in Alsace, is apparently very popular as a sweetening addition to sparkling wine and beer) and Grolsch Rosé, made using cranberry juice, actually an SAB/Royal Grolsch product which was born in a mini-boom in rosé beer sales in the Netherlands at the time. Both, like Cobra Bite, were soon gone: according to an insider, Molson Coors killed both Kasteel Cru and Kasteel Cru Rose because it wanted to focus on a less expensive brand (Kasteel Cru was contract manufactured and therefore more expensive) which it could “scale up’ more “aggressively”.

In 2009, having clearly learnt nothing from Miller’s disaster 16 years earlier, it threatened to launch a “clear lager” as part of its “multi-million-pound project to increase the number of women who regularly drink beer”. The beer had an abv of 4% and was put through an ultra-filtering process that removed its colour. It was flavoured with green tea and dragonfruit, and “has a taste similar to an alcopop”. A spokeswoman for the brewer said: “We know that what turns some women off beer is the colour and the head, although they like the refreshing taste.” Apparently they didn’t like the taste of green tea and dragonfruit, though, because a year later Molson Coors was telling the marketing press that it was still going to launch the clear beer but it would now “taste more like a beer”. Six months on from that announcement, it was quietly revealed that the clear beer, which never even managed to get a name, had been shelved, on the grounds that it was “so unlike beer that it would fail to help the company’s ultimate goal of increasing the number of women drinking beer.”

Meanwhile another brewing giant, Carlsberg, was pursuing the seemingly uncatchable phantasm of the female beer drinker with Eve, a 3.1% abv “lightly sparkling product positioned somewhere between a lager and an RTD”, available in two flavours, passionfruit and lychee, trialled in Manchester in 2009 with a £500,000 ad campaign, rolled out nationally in March 2010 with a £3m ad campaign featuring Louise Redknapp and withdrawn, again, in 2012.

Animée: more millions down the drain

Animée: more millions down the drain

By now Coors had set up a “female focused business unit” called Bittersweet, staffed by women only, charged with spending more of the company’s money on capturing the female drinker, despite all the previous failures to do so. Late in 2010 Coors announced that it would be launching a new range of beers in the middle of 2011 aimed at the female market, after research lasting 18 months, with a recipe that “fights the concerns women have around drinking beer, such as bloating, weight gain and taste.” The new beer, Animée, “less gassy and lighter-tasting than traditional beers”, had £1m spent on its development and another £2m on advertising. It was withdrawn in 2012 after less than a year, amid claims that both Coors Light and Corona were selling more beer to women than Animée was. According to one insider, Molson Coors’ own research had predicted the new beer would be a failure: “How a company could so blatantly ignore the research it commissioned itself, with Bittersweet, which basically said, ‘Don’t patronise women with pink tasteless beer’ is beyond me.”

Well, it seems there are, apparently, few so deaf as marketeers who don’t want to listen to an unwelcome message. In October 2012, despite the failure of Eve, the chief executive of Carlsberg, Jorgen Buhl Rasmussen, declared that he was now convinced women were the next big growth market for beer, and announced that he had asked Carlsberg’s 130-strong research department to dream up new “innovations and concepts” to attract women, by offering sweeter-tasting beer, because, oh yes, “females don’t so much like the very bitter taste you have in beer.” Carlsberg was already attempting to flog something called Copenhagen, a “metrosexual beer for the beer hater”, launched in 2011. Buhl Rasmussen told the Sun newspaper that while the packaging was a success, “the taste still needs work to make it more appealing.” Or to translate from marketingspeak: looks lovely, tastes like fizzy orc’s urine.

Little or nothing has been heard of the Buhl Rasmussen initiative (or “metrosexual” beer either) since then, but now SAB Miller is apparently convinced that it can finally find the pot of gold at the end of the female beer drinker rainbow. Nick Fell told City analysts back in October that the drive to making beer more female-friendly would start within six months with smaller efforts, before bigger beer launches and campaigns come to the fore from 2016 onwards. “There will be failures”, SAB Miller admitted – I’ll bet –  but Fell declared: “We’re confident of a shift in lager over the next five years to lager being more appropriate in mixed gender occasions. If we’re not seeing some movement in the next three to five years, at least in some markets, then we’re doing something wrong.”

Cushie Butterfield

Cushie Butterfield: the image too many women have of a female beer drinker?

Unfortunately for Fell, and SAB Miller, I fear they are indeed doing something wrong: trying to solve the problem with entirely the wrong product. There probably IS, now, an opportunity to market beer to women generally: but not lager. Part of the problem is that the reasons women actually give for not liking beer are not the true reasons, or at least the whole reason. They might say: “It’s too bitter,” or “It’s too fattening.” But what they probably mean is: “I just don’t like the baggage that comes with being a woman drinking lager, the assumptions by too many people that you’re somehow not sophisticated, you’re unfeminine.”

That’s not the case with craft beer, however, or not so much, certainly: and if any beers are going to appeal to women, it is most likely to be versions of the hoppy, floral American pale ales and the like that have swept across the Atlantic and are now being brewed, not just by almost every microbrewer in Britain, but by increasing numbers of established brewers as well; or one of the amazing beers being produced by the “place-based beer movement” I talked about here, including the Ny Nordisk Øl guys. What’s more, they will be beers that men would not be ashamed to be seen drinking, either, even if they might actually be beetroot-pink.

(Large parts of this blog entry appeared previously on the Propel Info website)

Young’s pubs sell a million pints of craft beer in six months

Craft beer taps at the Narrow Boat in Islington, a Young's pub

Craft beer taps at the Narrow Boat in Islington, a Young’s pub

One fascinating statistic popped up when I was talking to Stephen Goodyear, chief executive of Young’s, this week for the day job: Young’s pubs sold a million pints of craft beer in the six months to September 29 this year.

That’s “craft beer” defined as “kegged beers made by small brewers”, in Young’s case, pretty much Meantime and Camden Brewery. To save you working it out, across Young’s 240 or so pubs, that’s equal to not quite two 50-litre kegs a week per pub of beers such as Camden Hells Lager and Meantime London Pale Ale. Since quite a few Young’s pubs don’t sell draught craft, that probably means those that do are indeed getting through two kegs a week or more. It’s also the equivalent of 7,000 barrels a year – there are plenty of small breweries in the UK that don’t even brew that much on their own.

Is that making any difference to Young’s cask ale sales? Well, according to Goodyear, cask-conditioned beer is still around 25 per cent of the total beer sold in Young’s pubs, which is considerably higher than the national average of 16 per cent (more than half as much again, in fact). Some of that is cask beer from other people, but beer branded “Young’s” as a proportion of that is about four to one. So 20% of draught volume in Young’s pubs is still Young’s beers: Special, Ordinary, Winter Warmer and the like.

Not, of course, that Young’s brews those beers any more: since it cashed in on the value of the brewery site in the heart of Wandsworth, they’ve been brewed in Bedford, by Charles Wells. But Goodyear was adamant that having a Young’s beer offer, even if the company still doesn’t brew the beer itself, is still “very important: Young’s beer has been in Young’s pubs for the thick end of 200 years and we always want to keep that going. Wells have done a great job brewing the beers, and I think it’s better than it’s ever been, frankly.”

Not, I’m sure, that many of the more Taliban-esque Camra members will agree, but haters gotta hate, and since the demise of Whitbread, Watney’s and the rest, Camra’s tiny minority of haters have turned to hating the big family brewers who were once the heroes, such as Fuller’s and Wells. Fortunately, they make no difference to the success of a company such as Young’s, which runs some of my personal favourite pubs and sells some of my personal favourite beers, and which saw revenues for the 26 weeks to 29 September up 7.8% in total, to £116.6m, and up 6.9% on a like-for-like basis.

Place-based beer, a world-wide local movement

I gave a presentation in Denmark to a conference called to discuss “Ny Nordisk Øl” – “New Nordic Beer” – on “Beer and terroir from an international perspective” on Friday November 7. This, slightly tweaked, expanded in a couple of places and cut in a couple more, is that presentation.

The brewers of Denmark, Sweden and Norway are already enthusiastically making beers that reflect the place they are made, using local ingredients: you can read about some of those beers here. But what the Ny Nordisk Øl movement is doing is just part, albeit a tremendous part, of a wider movement to get away from internationally reproducible styles of beer, a movement that is finding expression in North America via campaigns such as “Beers made by walking about” and by brewers such as the Almanac Beer Company in San Francisco, the Mount Pleasant Brewing Company in Michigan, the Scratch microbrewery and farm in Southern Illinois and Plan Bee brewery in New York state, in Italy, in New Zealand, and in Australia, most eloquently by Ashley Huntington of Two Metre Tall brewery in Tasmania.

As I researched for my presentation, it became clear that the “place-based beer” movement is a growing global phenomenon, albeit as yet those engaged in it often seem unaware that others are fighting a similar crusade. This is a long blog but, I hope you’ll agree, fascinating in its implications for the future of craft beer.

Beer and terroir coverBefore I begin talking about beer terroir, it would be best to say exactly what I mean by the term in the context of brewing, what I think you need in order to be able to say that a beer has characteristics that fall under the name “terroir”, and some of the problems of trying to talk about “beer and terroir”.

There are plenty of complicated ways of defining “terroir”, and what it takes for “terroir” to be reflected in a beer. But the one I like best was said by an American craft brewer who said he was attempting to achieve in his beers “the essence of here”.

How do you achieve “the essence of here”? In beer, there are, I hope you will agree, six major variables that affect the “hereness” of a beer: Continue reading

Place-based beers and 13-year-old Special Brew

I have a new “magic beer moment” to savour: drinking 13-year-old Carlsberg Special Brew in the cellars of the Jacobsen brewery in Copenhagen.

den Lille Havfrue

If you’re in Copenhagen you do, really, have to go and pay your respects to den Lille Havfrue

Actually, that was just one of a number of great moments during my trip to Denmark eaelier this month to talk about “beer and terroir from an international perspective” to a bunch of brewers not just from Denmark, but Norway and Sweden as well, as part of a conference in the town of Korsør organised by the New Nordic Beer movement (Ny Nordisk Øl, pronounced roughly “noo nordisk ohl”).

The men leading the campaign are two brewers, Anders Kissmeyer, formerly of the award-winning Copenhagen brewery Nørrebro Bryghus, and Per Kølster of Kølster Malt og Øl in the appropriately named village of Humlebæk – “Hops Creek” – north of Copenhagen, and PR man Christian Andersen. The idea of Ny Nordisk Øl is to forge a distinctly Nordic take on brewing, using Nordic traditions and, most especially, Nordic ingredients – not just flavourings, such as heather, sweet gale and wormwood, but yeast and other micro-organisms sourced specifically from a Nordic environment, in just exactly the same way as the New Nordic Cuisine movement has fused tradition and modernity to create a style of cooking that is rooted in a place and yet free to experiment (the success of which effort can be judged by the fact that the Copenhagen restaurant Noma, short for “Nordisk Mad”, or “Nordic Food”, which is one of the leaders of New Nordic Cuisine, has been voted “best restaurant in the world” by its peers in four out of the past five years). In a world where the craft beer movement seems intent on replacing one kind of ubiquity – bland Big Brewer lager – with another – highly hopped fruit-salad pale ales – it’s a trumpet-call to battle on behalf of individualistic, rooted, idiosyncratic beers, made by brewers intent on arriving at something that could only have been made in one place and at one time, that excites me greatly.

Hærvejs Lyng

Hærvejs Lyng heather beer: the ‘hær’ in Hærvejs is the same as the here in Hereford

Judging by the number of highly enthusiastic Nordic brewers I met in Korsør – I’m guessing, but there must have been 50 or 60 attendees – and the excellent Ny Nordisk Øl-inspired beers I drank there, it’s a movement with a good weight of support behind it, and terrific results to show those wondering if “beer terroir” is just a gimmick.

There have been various names given to the sort of products brewers involved in the Ny Nordisk Øl movement are making, but the one I like best comes from the United States – “place-based beers”. Fortunately I was able to tell the Nordic supporters of “place-based beer” that they are far from alone. In the United States, in Australia, in New Zealand, in Italy and France, there are plenty of others pursuing the same goal, of making beers with what one American called “the essence of here” in them. (I’ll be putting up my presentation on this blog, and naming names, later in the week). The bad news is that in what one might call the “Old World”, there is much less interest in the concept of “beer terroir”.

Hø Øl, or 'Hay Ale',

Mark Hø Øl, or ‘Hay Ale’, once brewed in Britain

One of the ironies of trying to find “beer terroir” today is that once, of course, all beers were local, and reflected their local environment, local ingredients (local hop varieties, “land-race” strains of barley, local water, local yeasts) and local traditions. Porter, the world’s first “industrial” beer, the popularity of which powered the growth of what became the world’s largest breweries at the time, was developed in London as a local beer for local people, satisfying the desire of the city’s working classes for a refreshing calorie-filled beer, brewed using brown malt made in Ware, Hertfordshire, 20 miles to the north, hops from Kent, just to the east, and London well-water, full of calcium carbonate, which helps make good dark beers; matured using giant vats, a technique invented by and originally unique to London brewers; and served using methods of blending old and new beer specifically reflecting customers tastes, while being drunk with foods it was regarded as a particularly fine accompaniment to: boiled beef and carrots, for example, a very traditional old London dish. Even pilsner, the most widely reproduced beer style in the world began as a beer very much reflecting its Bohemian locality: made with Moravian malted barley, local Saaz hops and its home town’s particularly soft water.

Coming from the other direction, brewing traditions that are still deeply rooted in the local landscape – in particular the Belgian brews such as Lambic – now seem to be as reproducable as pilsen became, and almost as global. Every American brewer seems to want to make a Belgian ale laden with Brettanomyces bruxellensis, and they can buy that yeast right off the shelf, rather than having to move to Payottenland. When you see a brewery in Britain making a Gooseberry Gose, a variation on a style of beer from Saxony that was effectively unknown until a few years ago, you know you’re living in a world where “local” appears to mean very little.

Xperimentet No 2, beiitered with sea wormwood ('strandmalurt' in Danish

Xperimentet No 2, bittered with sea wormwood (‘strandmalurt’ in Danish)

Which is what the supporters of Ny Nordisk Øl are fighting against – and although they don’t have many fellow travellers in the rest of Europe, it’s to be hoped that when other brewers start tasting the beers that Ny Nordisk Øl has inspired, it will spur them to produce ales that reflect their own places. Here are my notes on some of the “place-based beers” I tried in Denmark:

An unlabelled (IIRC – although I may just have failed to record the name) ale brewed with sea wormwood (less bitter than the wormwood used in absinthe), camomile and sea buckthorn, three popular flavourings with Nordic brewers seeking to make a hopless ale. This had a lovely, deep, tongue-coating, very up-front bitterness, a pale, slightly cloudy appearance, a mouthfilling rotundity, and finally a sweetness under a full, vegetally/weedy flavour.

Ny Nordisk Hærvejs Lyng from the Vyborg Bryghus: a hop-free heather beer with a massive nose of honey, and liquid honey in the mouth but with a sharp tart lemony undertone, lightly petillant with no head. It’s alcoholic lemon and honey cough sweets. (The ale is named for the Hærvejen, or “Army Way”, a road that runs down the Jutland peninsula from Viborg to, eventually, Hamburg.) Continue reading

Siren’s blast

Back in August last year, after encountering Siren Craft Brew’s American IPA at the London Craft Beer Festival, I promised: “I shall definitely be drinking more Siren.” I’ve now drunk the brewery’s beers whenever I find them, and I’ve never been so impressed with the products of a new brewery since we started having new breweries in Britain again. There hasn’t been one I wouldn’t score an eight, at least. It should be clear, I think, from the first sip of any of the brewery’s beers that in the 31-year-old American Ryan Witter-Merithew, Siren has found a brewer of supremely rare talent, someone with a “palate imagination” powerful enough to give him the ability to pull off stunts other brewers leap at and fail to achieve.

Whiskey Sour beerIn particular, he seems to have an amazing ability to blend two ideas together and get a whole considerably greater than the parts. His Whiskey Sour beer contains two of my personal nightmares – beer brewed with actual lemons in it, and beer aged in oak casks sufficiently for the flavour of oak to enter the ale. Yet I find it a marvellous drink, full of depth, totally integrated, the oak, the lemon, the bourbon and the citrussy hops producing a symphony of harmonious flavours: a beer I’m eager to try matching with different foods

I was delighted to get an invite to meet Darron Anley, the founder of Siren Craft Brew at a “showcase” organised by the property agency Davis Coffer Lyons at the East London Liquor Company in Bow Wharf, East London, the first bar-with-a-distillery (actually two stills, beautiful copper affairs) I have seen. It would be very unfair to call Anley a dilettante brewer, since he is clearly serious about what he is doing and it’s not merely a hobby, but like a few others in the modern UK brewing scene, it was making a fortune elsewhere, in his case building up and then selling an IT security company, that gave him the freedom, and the finance, to become a brewer. His previous company was sold in 2011, but Anley’s interest in beer went back a lot further than that, he revealed: Continue reading

Remembering the victims of the Great London Beer Flood, 200 years ago today

Wherever you are at 5.30pm this evening, please stop a moment and raise a thought – a glass, too, if you have one, preferably of porter – to Hannah Banfield, aged four years and four months; Eleanor Cooper, 14, a pub servant; Elizabeth Smith, 27, the wife of a bricklayer; Mary Mulvey, 30, and her son by a previous marriage, Thomas Murry (sic), aged three; Sarah Bates, aged three years and five months; Ann Saville, 60; and Catharine Butler, a widow aged 65. All eight died 200 years ago today, victims of the Great London Beer Flood, when a huge vat filled with maturing porter fell apart at Henry Meux’s Horse Shoe brewery at the bottom of Tottenham Court Road, and more than 570 tons of beer crashed through the brewery’s back wall and out into the slums behind in a vast wave at least 15 feet high, flooding streets and cellars and smashing into buildings, in at least one case knocking people from a first-floor room. It could have been worse: the vat that broke was actually one of the smallest of 70 or so at the brewery, and contained just under 3,600 barrels of beer, while the largest vat at the brewery held 18,000 barrels. In addition, if the vat had burst an hour or so later, the men of the district would have been home from work, and the buildings behind the brewery, all in multiple occupancy, with one family to a room, would have been much fuller when the tsunami of porter hit them.

From a Dr Who cartoon novel in 2012: was the Great Beer Flood caused by time-travellers? (No, obviously not …)

From a Dr Who cartoon novel in 2012: was the Great Beer Flood caused by time-travellers? (No, obviously not …)

Here’s about the only eye witness report of what it’s like to be hit in the back by a giant wave of beer, written by an anonymous American who had been unlucky in taking a short-cut down New Street, behind the brewery, when the vat burst: Continue reading

The 40pc leap in capacity at the Doom Bar brewery and the 2014/5 Cask Report

One of the items of news that may have shot by you recently is that Molson Coors is pumping enough money into the Cornish economy to boost capacity at Sharp’s brewery to a potential 350,000 barrels a year of Doom Bar ale, a 40% expansion. There is no guarantee it will be able to shift that amount of what is already the UK’s biggest-selling cask ale, of course. But if it did, that would mean Doom Bar had become a brand one tenth the size of Carling lager. That might not sound much, but blimey, there’s not been a cask ale brand with that kind of clout in the market for decades.

It would be fascinating to know what all those drinkers of more than a million pints of Doom Bar a week  think the beer actually is: do they believe they are drinking “craft beer”? Do they know it actually comes from one of the biggest brewers in the country?

It’s also an interesting question as to whether any other cask ale brand, even with the weight of Molson Coors behind it, could ever have contemplated looking at potential sales that recall the heyday of Draught Bass, even in an era when cask ale drinkers may be entitled to feel more optimistic than they have been able to be for almost two decades. Has Doom Bar’s popularity any connection with it coming from the village of Rock, described by the Daily Telegraph as “the Kensington of Cornwall”, populated during the summer by affluent teenagers staying at their friends’ multi-million-pound holiday homes, and surrounded by expensive Michelin-starred restaurants owned by big-name chefs? Plenty of Rock’s affluent young visitors will be drinking in the Mariners, the pub owned jointly by Sharp’s and the celebrity chef Nathan Outlaw, and Doom Bar is likely to be the tipple for many. Does that at all put a halo on the beer that helps it rise to sales levels effectively unheard of for a single cask beer brand?

Cruikshank's draymen

Draymen, by George Cruikshank. Note the chequers on the doorpost, an indicator of a public house.

Well, probably not, but it is certainly the case that you are indeed much more likely to find the young and affluent drinkers who flock to Rock to meet mates (and mate) drinking cask ale than you would have even ten years ago. As the latest Cask Report revealed, a third of all 18-34 year-olds have tried cask. And it’s not that they have tried it and walked away back to Carling or Peroni vowing “never again” – of all those who have ever tried real ale, 86% still drink it to some extent. Nor is it just young men trying out real ale. A third of all female alcohol drinkers have tried cask – and, again, 75% of women who have tried cask still drink it.

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