Is Ireland ready for a 12-handpump Wetherspoon’s?

The two Irish beer fans lowered their voices and spoke almost in awe. They had been looking through the windows of the new JD Wetherspoon pub in the upmarket Dublin suburb of Blackrock, due to open its doors for the first time this Tuesday. “It’s got TWELVE handpumps!”, they said. That is twice as many as any pub in the Irish Republic has ever had before – and even that pub only had four handpumps actually working at any one time. Indeed, according to one (unverified) estimate, the 12 handpumps at the new ‘Spoons, the company’s first in the Republic, will boost the total number of working handpumps in the entire country by 33 per cent.

Is Ireland ready for a 12-handpump ‘Spoons? I was last in Dublin all of eight years ago, when the beer scene was still pretty dire. Since then, the country has seen a London-like explosion in the number of craft beer breweries, from a small handful to around 40 (indeed, one of the newest – N17 – actually sounds as if it ought to be in London, though it’s named after the road that runs from Galway to Sligo, and the brewery is in Tuam, rather than Tottenham).

Brew Dock Amiens Street Dublin

The bar-top line-up of craft beers at the Brew Dock in Dublin

Accompanying that has been a boom in the availability of craft beer: yes, Guinness, Budweiser and Smithwick’s are still ubiquitous, but if you’ve got the excellent Beoirfinder app, you’ve got a good chance of tracking a pub or bar with at least something more interesting on tap. And there are now bars, such as Brew Dock in Amiens Street, Dublin, near Connolly station, where the bar top has more than 20 craft keg taps, selling beers from the United States and Britain as well as Ireland.

If you can discover a working handpump anywhere, though, it’s likely to be just the one, and you could find, as I did in the Alfie Byrne bar in Dublin last Sunday, that the beer on the one handpump is almost irritatingly familiar – in this case Fuller’s London Pride. I can drink that 10 minutes’ walk from my house. Ironically, many great old Irish pubs still have a row of “policeman’s truncheon”-style handpump handles on the bartop, but they’ve not been used for 50 years. As soon as Guinness perfected the nitro-serve for draught stout, in the early 1960s, keg beer immediately replaced cask from Bantry Bay to the Derry quay, and from Galway to Dublin Town. (It was that dire situation, of course, that helped inspire them four fellas on holiday in the Republic in 1971 to form the Campaign for the Revitalisation of Ale.) Continue reading

You won’t believe this one weird trick they used to fly beer to the D-Day troops in Normandy

Normandy, 70 years ago, and one of the biggest concerns of the British troops who have made it over the channel, survived the landings and pushed out into the bocage against bitter German resistance is not the V1 flying bomb blitz threatening their families back home, nor the continued failure to capture the port of Cherbourg – but the lack of beer in the bridgehead. On 20 June 1944, two weeks after D-Day, Reuter’s special correspondent with the Allied Forces in France wrote to newspapers in the UK that all that was available in the newly liberated estaminets a few miles inland from the beaches was cider, “and it is pretty watery stuff. I saw a British private wistfully order a pint of mild and bitter: but the glass he sat down with contained the eternal cider.”

Spitfire droptank fuelling

Tangmere, Sussex, July 1944: in front of a Spitfire IX of 332 (Norwegian) Squadron, a standard 45-gallon Typhoon/Hurricane ‘Torpedo’ jettison tank modified for use on the Spitfire (because of an expected shortage of 45-gallon shaped or slipper tanks) is filled with PA ale for flying over to Normandy while an RAF ‘erk’ writes a cheery message on the tank. The pilot sitting on the wing in this clearly posed government publicity picture is wearing a Norwegian Air Force cap-badge – something no one who has reprinted this picture seems ever to have pointed out. Is the man filling the tank a brewery worker? Surely. Is the beer from Henty and Constable’s brewery in nearby Chichester? It seems very likely …

It would not be until July 12 when “real British beer” finally officially reached the battling troops in Normandy, and even then the quantity was enough only for one pint per man. But long before then, enterprising pilots in the RAF – and the USAAF – had been engaged in shipping beer into Northern France privately, using what the troops called “flying pubs”. Continue reading

How I helped design a new lager at the White Horse

Václav Berka explains the secrets of brewing Pilsner Urquell in the upper room at the White Horse, Parsons Green

Václav Berka, senior trade brewmaster, explains the secrets of brewing Pilsner Urquell in the upper room at the White Horse, Parsons Green

I’ve taken part in many beer-related events in the upstairs room at the White Horse in Parsons Green, from tasting porter rescued from a 19th-century shipwreck to making a presentation on my historical beer heroes, but I never thought I would one day be helping to brew a lager there. Even more unlikely, this lager was made with genuine Plzeň well water – and it stood a fair chance of going into large-scale production.

The event was organised by Pilsner Urquell, the invitation came from Mark Dredge, to whom I am extremely grateful for such a fun day, it was called the London Brew-Off, and it involved three teams of beer enthusiasts, each put in charge of a 20-litre Speidel Braumeister brewing kit, handed four kilos of ground Czech malt, pointed to bags containing a selection of other speciality malts and eight or ten different hop varieties, and told to think up a recipe for a pilsner that would be good enough to go on public sale, using those ingredients, and then brew it. Our raw, hopped wort would be cooled, then have proper Pilsner Urquell yeast added, and be taken away for fermenting and lagering and, finally, bottling. On Tuesday July 15, that is, just over six weeks later, all the lagers the teams had made will be test-tasted, and the best one will be put into full-scale production – 30 hectolitres, 5,270 pints by Windsor & Eton Brewery, ready for the White Horse’s Euro Beer Fest in September. Continue reading

Doing my bit for the Surrey hop-growing industry

I’ve been invited on plenty of brewery visits over the years, but never before has the invite come with the request: “Please bring wellies and a spade.” This, however, was a field trip in a considerably more literal sense than normal: to the two and a half-acre field right opposite the Hogs Back brewery in Tongham, just outside Farnham in Surrey, to witness – and take part in – a historic event: the first planting of the Farnham White Bine hop variety in its native soil since the last bines were grubbed up 85 years ago.

This is not just, however, a footnote in Farming Today magazine: this is, according to Hogs Back’s chairman, Rupert Thompson, an important step towards increasing the “localism” aspect of the brewery’s products. Once the new hop ground (the proper Surrey name for what elsewhere are called hop gardens or hop yards) is producing a healthy crop, those hops can then be used to flavour the beer being brewed just yards away: Surrey’s own hop variety, grown in Surrey, to produce Surrey beers.

Jeff Sechiari of the Brewery History Society, one of the volunteers at the Hogs Back hop ground planting,  with a Farnham White Bine rootstock prior to planting

Jeff Sechiari of the Brewery History Society, one of the volunteers at the Hogs Back hop ground planting, with a Farnham White Bine rootstock prior to going into its hole

A century and more ago, Surrey was an important hop-growing area, and for a very long time, up to at least 1850, Farnham White Bines were the most favoured hop variety in the land, described as having “a most delicate flavour”. Richard Bradley, Professor of Botany at the University of Cambridge, writing in 1729, called Farnham “the first capital Town for Hops in Britain.” Three years earlier, the Reverend John Laurence, in a book called A New System of Agriculture, said: “The noble Plantation of Hops at Farnham where for Regularity and Exactness the appear like Woods and groves cut into Vistaes is a beautiful Sight.” Arthur Young, the agriculturalist, said in 1798 that “they grow very large quantities” of hops around Farnham, and hop grounds were let in the district “from £3 to £9 an acre, which last price is very great.” In the second half of the 19th century, Kentish hops overtook those from Farnham in favour, but Farnham hops were still ranked second in quality after those from East Kent in 1890, and even in 1909, George Clinch could say: “The Farnham hops have long been famous for their excellent quality.”

In 1886, Surrey had 2,937 acres of hop grounds: half the size of the Sussex hop crop and a third that of Hampshire, but more than either Hereford or Worcester. Disease – to which hops in general and Farnham White Bines in particular are prone, especially downy mildew – hammered the Surrey industry, and the county’s own hop disappeared from its homeland in 1929, to be replaced by more disease-resistant varieties. But even in 1959, there were still 1,879 acres of Surrey hop grounds, which made up 9.2% of all the land then given to hop cultivation in Britain. The collapse of the industry since that time is encapsulated in one telling statistic: the planting of hop bines at Tongham this week doubled the number of existing hop grounds in Surrey.

Before the planting on Monday, Rupert Thompson said: “It will be wonderful to look out from the brewery and see the raw materials we use growing in the next-door field – that’s local! That is part of what makes the craft brewing revival so exciting.” Right now all you can see is a muddy field with, if you look carefully, row after row of angled pieces of metal sticking a few inches out of the ground, all carefully spaced one foot apart. Each marks where a hop plant was planted by a small but enthusiastic squad of helpers, including me. But in a few weeks, once the hops start to grow, the trellising will be going in: and a couple of months after that, the field should be a magnificent sight: two thousand or so hopbines (slightly fewer than half Farnhams, the rest the American variety Cascade), leafy and green, climbing 15 feet or more into the Surrey sky. Continue reading

How I nearly found a brewery on my doorstep

I believe strongly in the old cliché about what to do if life hands you a ton of lemons: set to and make the very best lemonade you can. So when I wound up working in Hong Kong, I thought the worthiest use of my spare time was to write the first history of beer in Hong Kong. This turned out to be vastly easier than I had feared, because the Hong Kong library service had digitised every English language newspaper produced in the colony back to the 1850s, and while the OCR wasn’t perfect (it never is), it still threw up a mass of detail about Hong Kong’s brewing pioneers, much of it fascinating. And gave me a surprise on my doorstep.

The most beautiful setting for a brewery anywhere in the world? The Sham Tseng brewery site, New Territories, Hong Kong in the 1950s © San Miguel Corp

The most beautiful setting for a brewery anywhere in the world? The Sham Tseng brewery site, New Territories, Hong Kong in the 1950s © San Miguel Corp

Beer and Hong Kong were mixed up right from the moment the British seized the island in 1841 during our row with China over whether or not our traders should be allowed to sell the Chinese opium: for some reason the Emperor of China felt foreigners flogging his subject hard drugs and getting them addicted just to turn a profit wasn’t really on. Naturally, the British went to war on behalf of the drug pushers. Indeed, as I suggested in the article that eventually ended up in Brewery History magazine, it’s arguable that if it hadn’t been for alcohol, Britain would never have seized Hong Kong. Continue reading

Fuller’s Imperial Stout – the most misunderstood beer of the past 12 months?

Imperial stout blurredIs Fuller’s Imperial Stout the most misunderstood beer of the past 12 months? It didn’t stir a lot of enthusiasm when it appeared last autumn: much muttering about the beer being too sweet, very little character, “a bit anonymous”, not drinking to its 10.7 per cent abv, not worth its £7-plus a bottle, not worth buying again. An air of disappointment settled down around it, a feeling that an Imperial Stout from the Griffin brewery, with its reputation for terrific tasty brews, really ought to have been much more of a sock-fryer than this beer was.

Fair? I tried the Imperial Stout myself when it first came out in September (IIRC it was a free bottle actually given to me by John Keeling, Fuller’s head brewer) and yes, it was over-sweet and shallow. I wasn’t particularly surprised, though: this was a strong, dark, bottle-conditioned beer that had only been brewed four months earlier, and was barely out of the maturing tanks. To expect it to be anything other than one-dimensional at that age was like expecting a still-sopping newborn to show the depth and maturity of a 40-year-old. There was no reason to think this beer would not improve considerably as it aged, and the yeasts in the bottle munched away at those heavier sugars that were currently making it taste so sweet. So, feeling flush just before Christmas, I invested in a case, to see if this ugly duckling would turn into a black swan.

My feelings had been strengthened when John Keeling himself tweeted in November about the Imperial Stout: “Hang on to it – it will be better in 6 months”. That’s this coming May, at which stage it will be a year old. But how’s it tasting now? Already a lot better than it was in September, is my opinion. It’s still sweet, but there’s a complexity starting to appear, with thoughts of liquorice toffee, golden syrup and plain chocolate digestive biscuits. (Rose buds? If you say so.) There is still little hint that you are drinking a 10.7 per cent abv brew, but it’s a very smooth sipping beer with a full, slightly peppery mouthfeel. It’s also a beer that needs to breathe a bit, at least at this stage of its ageing: the complexity becomes more apparent the longer the beer is in your glass. It’s also still clearly, to me, a beer that will happily benefit from yet more time being left alone in a darkened room.

If you have a bottle of Fuller’s Imperial Stout, my advice is not to open it until at least the end of May – and I don’t think it will do you or the beer any harm to wait until November. If you have two bottles, try one this April or May and the other next April or May. If you’ve been put off buying it by the bad reviews in some places, I’ll tell you what: buy two bottles, drink one in May, if you don’t like it, I’ll buy the other one off you.

The big problem has been, I think, that we’re not used to beers that don’t deliver their best as soon as we buy them. We understand ageing in other foods: cheese, for example, or meat. I know a restaurant in Hong Kong, the Blue Butcher in Hollywood Road, Central, that has a glass-walled meat store lined with Himalayan pink salt bricks, visible from the tables, where you can ask for your own personal virgin female Japanese wagyu beef steak to be dry-aged for an extra six weeks until it and you are ready. But we’re not yet up to walking into a bar and saying: “I’d like an Imperial Stout, please, aged for another nine months: I’ll be back in December to drink it.” Instead, brewers have been mostly ageing their beers that require ageing for us – Fuller’s keeps some of its Brewer’s Reserve series literally for years before releasing them on to the market when they’re ready. With Imperial Stout it didn’t, to the confusion of many.

Another problem, for some, is the price: £7 a bottle on the Fuller’s website right now. That’s the same as three bottles of Chiswick bitter. But it’s no coincidence that a bottle of 10.7% abv Imperial Stout contains the equivalent amount of alcohol as those three bottles of 3.5% abv Chiswick: you’re getting just the same alcoholic bang per penny whichever you buy. Which gives you more pleasure, only you can reveal.

More great lost Guinness art: new evidence for the genius of Gilroy

If we didn’t already know John Gilroy, creator of so much iconic beer advertising, was a genius, then the latest images to surface from the mysterious “lost” art archive of the former Guinness advertising agency SH Benson would surely convince us: marvellous pastiches of other iconic works of art, sadly unseen for the past 60 or so years.

I’ve already talked here about the mysterious stash of 800 or more pieces of Gilroy advertising artwork that disappeared, existence unknown to Guinness experts, on the sale of the former Guinness advertising agency SH Benson in 1971, and how items from the collection began to turn up for sale on the American market from 2008 onwards. These are oil paintings, done by Gilroy to be shown to Guinness for approval: if approved, a final painting would then be made which the printers would use to make the posters. Now they are being sold by a couple of art dealers in the United States on behalf of their anonymous possessor for tens of thousands of dollars each. It has been estimated that the 350 or so paintings sold so far have gone for a total of between $1 million and $2 million.

Van Gogh by John Gilrou

‘I’d give my right ear for a pint of stout’

Much of the stuff that has been turning up was never actually used in advertising campaigns, for various reasons. There was a series of posters featuring Nazi imagery, for example, commissioned from Gilroy because Guinness was thinking of exporting to Germany in 1936.

This week, David Hughes, who has written an excellent just-published book, Gilroy was Good for Guinness, about Gilroy that includes some 120 reproductions of artwork from the “lost” stash, gave a talk at the St Bride’s Institute in London on Gilroy and Guinness. During the talk he revealed that he had recently been shown something new from the Benson collection, too late to include in his book – a series of 21 takes by Gilroy on “Old Master” paintings, copies with a Guinness twist  of works by painters such as Picasso, Van Gogh, Vermeer and Michaelangelo, that had been commissioned in 1952 with the intention that they would hang in the Guinness brewery at Park Royal in London. They were never used, however, and instead ended up hidden in the SH Benson archive, vanished from (almost all) human ken.

Picasso by Gilroy

From Picasso’s ‘Brown (stout)’ period …

Now the paintings are on sale as part of the general disposal of the Benson Gilroy collection, they are being swiftly grabbed by eager collectors with thick wallets: the “Michaelangelo” went for $20,000. I would love to own the “Van Gogh” – somehow Gilroy has captured the essence of the mad Dutchman’s art even as he subverted it with a bottle of Guinness on the chest and a pint of stout on the chair – a humorous homage, done, I am sure, with love and affection. Note Gilroy’s signatures on that and the “Picasso” – cheeky takes on the originals.

A few others are in the “great but not fantastic” category, but the “Toulouse-Lautrec” really does look as if little Henri himself had been commissioned to design an ad for la fée noire. I haven’t seen any of the other 21 apart from those here, but they would have made a superb series of advertising posters, and would be as much loved now, I am sure, as Gilroy’s toucans, sea lions and men with girders. It’s a huge pity they never went into proper production. (Some of the reproductions on this page – the obviously rubbish ones – are from photos taken by me off the giant screen David Hughes was using at the talk, subsequently poorly “tweaked” in Photoshop – my apologies, but I thought you’d be more interested in at least seeing something now of these marvellous illustrations than waiting an unknown time until you could see them reproduced perfectly.)

In the audience for the talk was Edward Guinness, 90 this year, the last member of the family to hold an executive position on the Guinness board, and a man to whom brewery historians owe a huge debt: it was while Edward was chairman of the Brewers’ Society that the Society commissioned Terry Gourvish and Richard Wilson to write their mammoth history of brewing in Britain from 1830 to 1980, a massive resource. He also helped ensure Guinness the company supplied the money to make John Gilroy’s last few months comfortable, after it emerged that the artist who had done so much to promote the Guinness brand was seriously ill and could not afford private health care. It appears that David Hughes is helping Edward Guinness write his reminiscences – bugger, that’s another Guinness book I’m going to have to buy.

Michaelangelo by Gilroy

The ceiling of the Sistine Saloon Bar – don’t you love the strategically placed shamrock?

Millais by Gilroy

Gilroy’s take on John Everett Millais’s Boyhood of Raleigh of 1871: “Sod the potato, bring the world stout!’

Mondrian by Gilroy

Piet Mondrian’s hugely influential ‘Composition in Black and White’, painted after his death in 1944

Vermeer by Gilroy

Vermeer’s ‘Girl with the Pint of Guinness”

Toulouse-Lautrec by Gilroy

Henri ‘Half-Pint’ Toulouse-Lautrec advertises Guinness in the Paris of the 1890s