POT STILLS THE SCIENCE OF DISTILLING
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SMOKE &
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FIRST DRINKS
I
t’s always interesting what themes appear in an issue as it begins to come together. As the features fall into place, as interviews are conducted, there always tends to be an unmistakable, if sometimes unintentional, theme to the proceedings. This issue was no different, though perhaps the theme was a little more intentional. Chatting with bartenders along with bar operators, consultants and owners, it is always heartening to see how many of them are truly focused on the pursuit of quality over gimmicks or cheap tricks. It’s only natural that the topic of quality would come up when discussing the varied and somewhat murky area of adding theatre to venues. While it might seem like an easy fix to spice up a potentially flat-lining concept, speaking to those who have successfully engineered theatre into their line-up, it is clear that quality and authenticity have to come first. There is no point in simply sticking a microphone in the corner of the bar, hiding your entry behind a tangle of plastic ivy leaves, or even just dumping dry ice in every drink as far as the eye can see. Sure, you could try any of those things, however, those in the know all agree on one thing: if it isn’t authentic, if it isn’t based in quality, then it will be doomed to fail. Previous Operator Profile guest, Grant Collins, has worked all around the world creating bar concepts and reinvigorating staid bars – making him the ideal go-to on what not to do. And he pulls no punches. For him, every aspect of a concept has to fit together, and has to have a basis in quality. Think of it as a really technical jigsaw puzzle that you have to complete backward – if that analogy is even possible. Which is just a roundabout way of saying you need to create a killer concept then work backward to fill in the details or the flair, if you will. It’s a way to guarantee that your customers aren’t confused when they’re confronted by a cocktail list of smoking tiki drinks in a bar that looks like someone transplanted a Meatpackers District warehouse into suburban Perth… unless your idea is to be as jarring as possible – in which case, good luck to you, we’re not ones to judge. The main crux here is to work what you know, and push boundaries in subtle ways. Customers are always looking to escape – whether or not they want a fun escape or to be left alone is up to you to judge, then act accordingly. After all, the @BARS_AND_CLUBS
guy in the suit waiting on his double Scotch on the rocks may not be the best candidate to try your new flair routine on. Then again he might really need a good laugh. The moral of the story is that there is a time and a place for everything in terms of theatre. It’s just about achieving authenticity and maintaining balance along the way. On a completely different note, on a whirlwind tour of Melbourne recently – did anyone else sample Good Beer Week? – I was excited to drop into a few new bars and quietly check out what was on offer. And it was universally impressive – great drinks, great people, and fantastic atmospheres. It goes to show that the Australian bar scene really is worthy of the global attention it has garnered in the past few years, with plenty of momentum to carry us through the next few years. Cheers,
Stefanie Collins Editor
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MANAGING DIRECTOR Simon Grover PUBLISHER Paul Wootton pwootton@intermedia.com.au EDITOR Stefanie Collins scollins@intermedia.com.au EDITOR-AT-LARGE James Wilkinson jwilkinson@intermedia.com.au CONTRIBUTING PHOTOGRAPHERS Simon Taylor NATIONAL SALES MANAGER Mark Ryu mryu@intermedia.com.au (02) 85866123 GERNERAL SALES – HOSPITALITY & LIQUOR Shane T Williams stwilliams@intermedia.com.au
POT STILLS THE SCIENCE OF DISTILLING
MIXERS
GRAPHIC DESIGN Ryan Vizcarra ryanv@intermedia.com.au
PREMIUM MIXERS TO TAKE YOUR BAR NEXT LEVEL
PRODUCTION MANAGER Jacqui Cooper
SMOKE &
MIRRORS How to introduce theatre without compromising quality
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G N I N ! R 5 1 U R E T O R 20 F Boutique Drinks Festival
08–09 SATURDAY
SUNDAY
AUGUST ROYAL EXHIBITION BUILDING 2015 MELBOURNE
PRODUCTS. KNOWLEDGE. PASSION.
WANT TO EXHIBIT?
Contact Shane T Williams Email: stwilliams@intermedia.com.au Phone: (02) 8586 6205
A U S T R A L I A
&
N E W
Z E A L A N D
FLAVOURS IN
MAY/JUNE
22 POT, KETTLE, COPPER
What goes into making the stills that produce some of the best spirits in the world?
FEATURE LIST
REGULAR LIST
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THE MARGARITA The convoluted origins of a classic.
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LIQUEURS What you need to know about this old-school category.
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A MIXED REACTION
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All the latest industry news.
The newest beers, ciders, and mixers.
NEWS
IN THE COOLER
It’s not just about the spirits in a cocktail.
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BEHIND THE BAR
How to mix up your winter beer offering.
The latest wine and spirit releases for your back bar.
STOUT & PORTER
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THE STAGE IS SET How to introduce a touch of drama without the stress.
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OPENINGS
OPERATOR PROFILE
The new, the revamped and the rebranded venues opening around the country.
Marco Nunes – breaking the mould in a burgeoning industry.
Want to know the latest beer news, brewing advice, product releases, festival information and much, much more?
SUBSCRIBE TO BEER&BREWER WEEKLY E-NEWS BY GOING TO www.beerandbrewer.com
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ALISSA GABRIEL MIXES HER WINNING COCKTAIL
NEWS
THE BARS, THE EVENTS, THE THE DRINKS, DRINKS, THE THE PASSION BRANDS
NEWS VIBE
JACK SOTTI
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JACK SOTTI TAKES OUT DIAGEO RESERVE WORLD CLASS AUSTRALIA GRAND FINAL DURING two days of intensive workshops, the top 25 World Class Australia bartenders were put through their paces, with Jack Sotti, of Melbourne's Boilermaker House, taking the title. Bartending since he was just 18, Sotti is passionate about his craft and “over the moon” to have won the Australian World Class competition. The event saw bartenders competing in a series of challenges judged by industry heavyweights. These challenges were designed to push the competitors, with tough judging criteria including artistry, innovation, balance, technique and visual aesthetic. Sotti will be travelling to Diageo’s seventh annual Global Diageo Reserve World Class Competition, to be held in Cape Town South Africa, later in the year. Additionally, he has won a trip around the world to explore 80 bars, including the world famous Aviary in Chicago, and the Bon Vivant in Edinburgh. Individual competition category winners comprised: ‘Beauty of Blends’, won by Thalita
MOUNTAIN GOAT'S DAVE BONIGHTON & CAM HINES
Alves from The Gresham (Brisbane); ‘The Veggie Revival’ won by Rowan Furlong from The Victoria Room (Sydney); ‘The Welcome Drink’ won by Jenna Hemsworth from Lui Bar (Melbourne); ‘World Class in a Cocktail’ won by Sasha Leonard from Double Happiness (Melbourne); and ‘Against the Clock’ won by Pez Collier from Lychee Lounge (Brisbane).
LIQUOR LICENCE APPLICATION CHANGES THE Independent Liquor and Gaming Authority (ILGA) has revealed changes to the liquor licence application process. The changes, which came into effect this week, require both online and hard-copy applicants to submit a copy of their development consent or approval upon lodging a new liquor licence application. Those submitted without will be considered incomplete. The new rules for licence applications came into effect on 18 May and any applications submitted before this date will not be affected.
2015 AIBA WINNERS ANNOUNCED THE champion and major trophy winners of the 2015 Australian International Beer Awards were named at the presentation dinner, which took place at Peninsula in Melbourne last night. Victoria's Mountain Goat Beer, with its Barley Wine – Barrel Beer was named as the Champion Australian Beer. The Champion International Beer award went to Lion Beer Spirits Wine, New Zealand for its Speight’s 5 Malt Old Dark. In total 28 Champion and Major trophies were awarded. See professional.topshelfshow.com.au for the full winners list.
FIRST LIFE BAN IN NSW IN a NSW first, two former Kings Cross bar operators have been issued life bans from holding a liquor licence after a series of breaches and complaints. John Barakat and Dominic Kaikaty operated Déjà Vu from January 2013 to March 2014 when its liquor licence was suspended and the pair was fined $23,000. The venue was to operate under an on-premise (restaurant) liquor licence, however, inspections carried out by OLGR indicate the venue was operating with a primary purpose to sell and supply liquor. Other offences committed by the former operators include the sale and supply of liquor to minors, drug possession and ‘continuous irresponsible promotions’.
NEWS
THE MARY'S & THE CLIFF DIVE TEAMS.
MARY’S PARTNERS WITH THE CLIFF DIVE THE Cliff Dive and Mary’s have joined to create a new food offering in Darlinghurst, the Mary’s kebab. “We love The Cliff Dive boys and we love to push ourselves,” Jake Smyth, Mary’s owner says. “The kitchen is tiny and super hot, it’s tight and tough. The kebabs are hopefully the same, hold the small part. They won’t be super-traditional, but we will draw influence from the ‘3am drink fat man’ kebab that we all love.” These go well with a spiced rum Jungle Bird cocktail. Operating Thursday - Saturday 8pm till late.
STOLEN SOFAS SOUGHT IN April of last year, Stolen Rum invited members of the public to steal one of 150 couches that had been stashed in Miami, Sydney and Dunedin – now they want to know where they are. The Stolen Sofas Project took place on the same day across the globe, with every single couch “stolen” within seven minutes. No strings were attached to the A SOFA "STOLEN" giveaway, it was simply FROM SYDNEY first come, first served. The company are now looking back on their campaign one year on to see if the sofas have “gone to good homes”. In return, the company is offering rewards to find out where their couches have got to. Consumers who submitted images – even if they didn’t own the couch themselves – are in the running to win a range of prizes.
ABSOLUT REVEALS NEW-LOOK BOTTLE DESIGN UNCHANGED since 1979, the Absolut vodka bottle is set for a refresh, with an updated design due to hit shelves toward the end of 2015. The new bottle will feature an updated two line logo, a new script, a redesigned medallion, reduced glass weight and a new brand signifier. Created in collaboration with Brand Union, a global brand and creative design consultancy agency, the redesign process saw a team of creatives come together including a master illustrator and master calligrapher. The new brand signifier has been placed on the back of the bottle – a large etched “A” and the brand is also focussing on environmental impact, using a reduced glass weight to minimise its footprint. The new bottle will be distributed worldwide in spring/summer 2015/2016.
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NEWS FRANK DEDIEU
MASTER MEZCALIERS FOR MELBOURNE MAMASITA in Melbourne is now offering an Agave Sommelier service. Each Mezcalier will be on hand to answer questions about all things agave, and walk patrons through the venue's 150-plus agave distillates list. The first batch of Mezcaliers to pass the course’s stringent requirements were put through their paces with extensive sit-down tests, questionnaires, tastings – while studying all things mezcal, tequila and agave for weeks. The in-house training is structured around the training manager Nick Peters received (specific to mezcal) while he studied in Oaxaca, although he has added tequila, raicilla, pulque, and sotol to the current training. While the course model is only available to in-house staff, Peters hopes to expand it to the general public very soon. MAMASITA'S MEZCAL COLLECTION
EXCITING TIMES AHEAD FOR TASSIE WHISKIES WHISKY Hall of Fame inductee, Bill Lark says that the Tasmanian whisky boom should continue, with some exciting times and releases ahead. As the first person from the Southern Hemisphere to be inducted into the Whisky Hall of Fame, Lark said “whilst passion and quality are paramount we are starting to come across some very special releases. For instance at Lark we also make our own rum, matured in our own whisky barrels and when we release the rum, we then finish some of our very best whisky back in these barrels to produce a world first rum finish in a barrel of rum produced from the same distillery.” Sullivans Cove recently announced that its French Oak whisky is available once again while the Lark Distillery was named the Best Australian Distiller.
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FRANCE TAKES OUT BACARDI LEGACY 2015 THE Bacardi Legacy global final was held in Sydney’s Town Hall on 3 May, with bartender Frank Dedieu of Redwood Bar in Lyon, France, taking out the title. Dedieu was one of eight finalists who presented their Legacy cocktails to a panel of international judges. The original field of 34 international contestants was cut to eight at the semifinal dinner on 2 May with New Zealand, China, Greece, Lebanon, Ireland, Singapore and South Africa joining Dedieu in the Grand Final. The winning cocktail, Le Latin, which he described on the night as “simple” and “elegant”, was inspired by his family roots in Montpellier and Marseille, and features Bacardi Carta Blanca rum with white wine, lemon juice, olive brine and white sugar – garnished with a single green olive. The top three was rounded out by Jad Ballout of Central Station in Lebanon, Barney Toy of Society & Nook in New Zealand. Australia’s representative, Alissa Gabriel, of The Manhattan Line in Brisbane, competed well in the semis, unfortunately missing out on a spot in the finals.
GLASSES CAN SHAPE DRINKING HABITS
PHILIPS WINS MILE-HIGH COCKTAIL COMP
A new study from the University of Bristol's Tobacco and Alcohol Research Group in the UK reveals that an alcoholic beverage's glass shape and quantity markings can modify drinking behaviour. The research group believes that a small alteration in the design of the glass, such as a straight sided glass, will slow down alcohol consumption compared to if it was consumed through a curved sided glass. The research was then taken further, into a more realistic context where three UK pubs participated in the comparisons over a couple of weekends with the results supporting the research; straight edged glasses finished with lower earnings, indicating lower consumption. However PhD student and member of the research group David Troy warned that “the results are preliminary and need to be treated with caution”. In addition, the research group believes that quantity markings on the glass can also create more responsible drinking behaviour.
A cocktail from Bulletin Place's Tim Philips is set to be served on board British Airways flights to London, following his victory in a British Airways and Time Out cocktail competition. To celebrate the airline's 80th anniversary of flying to Australia, the winning drink will be served in First Class for a month. Philips fended off tough competition from Tom Egerton (Eau de Vie), Pasan Wijesena (Earl's Juke Joint), Olive Craig (The Wild Rover) and Michael Chiem (Lobo Plantation) to also win a Club World Business Class return flight to London. The winning drink, the ‘Antipodes' features Tanqueray No. 10, Fino sherry, verjuice, chamomile, and bitter lemon. THE ANTIPODES COCKTAIL
NEWS
THIS IS STOLEN JAMIE DUFF founded Stolen Rum in 2010 from a one-bedroom flat in Auckland, New Zealand. The ex-investment bank lawyer was determined to not only reclaim his life but rescues the rum category from kitschy branding. Five years later he has offices in NZ, Sydney, and the US, and a truly international brand. What inspired you to start the brand? I've worked in bars and restaurants since I was 16 and I love the hospitality industry. I was also a rum drinker, and always wondered why there were no cool rum brands that I would be proud to tell my mates about. My friends were all drinking vodka (it was 2007) or Scotch and it seemed to be a lot cooler than my rum. Once I had the idea to start a rum company, I wanted it to represent my life – I threw away a good career in law to follow my dream. Ultimately I wanted to stand for something, and be my own boss, and hopefully inspire others to do the same. Why do you use the tincture approach to creating your spiced rum? To create the best possible tasting rum. We use the best 100 per cent natural oils and tinctures, sourced from around the world. It’s not really used in the industry – it’s expensive, and old-school. Most large companies use synthetic flavours. As a company we take our ethos of appropriation right through everything we do – this means finding the best ingredients. What is next for Stolen Rum? We've got some really exciting things on the horizon. But the main thing is our US expansion and some cool innovation we have up our sleeves. Why is rum gaining so much popularity as a category? I think it was just a matter of time as people look to experiment. Brown spirits are now more popular than white, globally, so rum rides with that. And there are now some innovations coming out – rum is very versatile, making it accessible to people with a range of tastes. What is your favourite way to drink rum? Neat, or in a classic Daiquiri or El Presidente… Usually in warm weather and quickly.
ALCOHOLIC DRINKS INDUSTRY WILL REACH 276 BILLION LITRES BY 2019 EUROMONITOR International has released new data on the global alcoholic drinks industry. In 2014, total volume growth remained subdued for a second year at 0.8 per cent, reaching 252 billion litres. North America has shifted back into focus with total volume growth at one per cent, up from 0.3 per cent in 2013. China grew 1.2 per cent, which is among the lowest growth since the 1990s. Russia’s on-going macro and geopolitical stress has culminated in a decline of 6 per cent in 2014. Key findings from the new research shows that the move from white to brown spirits continues with bourbon, Irish whiskey and Japanese whisky seeing volume rises of 5, 8 and 7 per cent respectively. Craft beer continues to rise across the globe, while cider enjoyed solid total volume growth of nearly 9 per cent globally. To learn more about Euromonitor International’s alcoholic drinks research visit www.euromonitor.com/alcoholic-drinks.
APPARENT ALCOHOL CONSUMPTION HITS A 50 YEAR LOW AUSTRALIANS are drinking less alcohol overall than any time in the previous 50 years, according to figures released by the Australian Bureau of Statistics (ABS). “There were 9.7 litres of pure alcohol available for consumption in 2013-14 for every person in Australia aged 15 years and over,” says Louise Gates. “This is the lowest level since the early 1960s.” The pattern of alcohol consumption has changed significantly. While beer made up three quarters of all alcohol consumed 50 years ago, the category now makes up just 41 per cent. Over the same period wine’s share has increased from 12 to 38 per cent, with more white wine than red wine consumed – 270 million litres verse 190 million litres in 2013-14. And while full strength beer remains the most popular type, accounting for around three quarters of all beer in 2013-14, mid strength beer is gaining ground at 19 per cent. In other categories, spirits increased from 13 per cent of all pure alcohol consumed in 1963-64 to 19 per cent in 2013-14. Cider also accounted for a small but growing proportion, with a two per cent increase in 2013-14.
ESPRESSO MARTINI Glass: Coupette Ingredients: • 45ml Stolen Spiced Rum • 30ml Galliano Ristretto • 30ml espresso • 10ml coconut syrup • 10ml agave nectar • Pinch of sea salt Method: Shake with ice and strain into the glass. Garnish and serve. Garnish: Coffee beans
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OPENINGS
ALOHA SAILOR
A secret basement bar has opened up in Melbourne. Only accessed by a hidden stairwell at the back of The Noble Experiment, it is what the owners like to call “polished” tiki, with a few exciting touches thrown in – think smoking treasure chests, a skull wall, and barrel aged rums. Bar manager Linus Schaxmann talks us through the creative process.
What is the secret to setting up a successful bar? Great drinks and a great venue is vital, but the truth is, it’s all about the people. They are the heart and soul of your bar and what makes it tick. We truly believe that it’s the role of our staff to make our guest feel better walking out than they did walking into the bar. How did you balance your venue ideas between the team? Kristin, Daniel and I always wanted to have a completely different concept and provide a different drinking experience for each of our three bars in the venue. That means you need to have three different bar teams, making three different cocktail lists, using different techniques, products and equipment. It’s challenging but we love what we do. What made you decide on the tiki concept? Was that always the plan and if so why? We knew it had to be a strong, unique concept to inspire people to walk through a crowded restaurant and down a staircase that’s disguised as a bookcase. Tiki, to us, is
the perfect theme – it’s a unique, memorable drinking experience. Where else could you share a cocktail, which comes in a treasure chest, bubbling away with a blend of 18 different rums, that has been barrel aged together for seven months? How did you pick the location? Another factor in going with tiki is because it’s a basement bar. Tiki is the ultimate escape. It was once described as time between tipsy and drunk, when you’re lying on a beach as the sun’s setting and you
have absolutely no worries. A basement bar allows you create this environment and tropical experience, helping you forget that it’s really the middle of winter and probably cold and wet outside. How did you go about creating a “polished” tiki look? Tiki means different things to different people, and we were very conscious of that early on, as we didn’t want a bar that was too kitsch. There are already bars doing that and we wanted to bring something different to the Melbourne bar scene. Our inspiration was the original tiki bar, Don Beachcombers from the 1930s and we’ve worked very hard to recreate that
OPENINGS
tropical drinking experience, in a stylish, sophisticated way, without taking ourselves too seriously and losing that sense of fun. What is the future of the venue? People cannot believe that we’re actually a pop-up bar, and it will only trade as Aloha Sailor for six months. We feel that although it’s a pop-up, we had to commit to the concept and that meant not compromising on the fit out or the offering. Our last night will be 31 October, when we’ll throw the Halloween party to end all Halloween parties. Then we’ll close the basement bar, create a whole new concept, look, feel, offering and we’ll unveil it to the public in 2016.
NEW, REFURBISHED, REFITTED & RESTORED VENUES NOW OPEN AROUND AUSTRALIA.
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OPENINGS
HIGH BALLS WITH A SIDE OF DUMPLINGS A NEW, small cocktail and wine bar has opened up in the lane ways of Melbourne, with serious bartenders who don’t take themselves too seriously. Huw Griffiths and his business partner Shane Whiteley have restored the property down in Heffernan Lane and converted it into the venue Union Electric, keeping features such as the original bricks and timber ceiling structure above the bar. With a focus on fresh ingredients, they have a list of seasonal High Ball Cocktails including signature drinks The Kum Den Botanica: West Winds Sabre (Gin), Saint Germaine Elderflower liqueur, lemon juice, freshly squeezed apple and cucumber juice, garnished with local edible violets and cucumber; and the Kaiju Highball: Japanese Whisky, house ginger syrup, green chartreuse, lemon juice, Custard & Co Organic Free Range Scrumpy Cider, garnished with crystallised ginger and lemon. There is no kitchen at Union Electric but the great relationship between them and their next-door neighbours, New Kum Den, means you can get a quick fix of dumplings delivered from the restaurant straight to your table. Union Electric, 13 Heffernan Lane, Melbourne VIC, info@ unionelectric.com.au
ALL AUSSIE LINE-UP THE design concept for Bad Frankie draws upon a quintessential Australian memory to provide a stage on which to exhibit some of Australia’s best food and drink. Through the use of texture and robust locally sourced materials, the space possesses a level of intimacy creating a comfortable place to enjoy delicious pieces of Australia that evoke a sense of nostalgia. It is through this theme that owner and manager Sebastian Costello will offer strictly Australian local spirits working with brands such as 666 Vodka, West Winds Gin and Lark Whisky to name a few. The drinks menu will also offer a selection of cocktails and wines including their signature drink The Pepperberry Fizz – a mix of Melbourne Gin Company gin, lemon juice, pepperberry syrup, egg white and soda shaken over ice. According to Costello, Bad Frankie offers Australian Whisky and Gin masterclasses for anyone who wants to learn a little bit more about the process and the producers. To complement the Australian spirits head chef Raphael Exton-Pery will be creating humble and delicious jaffles, both savoury and sweet and in different combinations. Costello’s inspiration for the bar came while he was travelling around the world and wondered what food and drink would align with Australian identity – craft Australian spirits and Jaffles it is. Bad Frankie, 141 Greeves St, Fitzroy, VIC, (03) 9078 3866
EAU DE VIE’S NEW VENTURE GREG Anderson of Eau-de-Vie Melbourne and Sven Almenning from Speakeasy Group have partnered up to create the Boilermaker House in Melbourne. As a new craft beer and whisky venue, it will have a strong focus on the drinking tradition of matching beer and whisky together, called a Boilermaker. The bar will also offer 20 signature cocktails and will have 12 rotating tap beers, 70 beers available in cans or bottles, five suggested boilermaker serves and 700 whiskies from all around the world. It will even offer a great wine selection focusing on red only as well as a tap for cider and a tap for rotating sour beer all year round. Boilermaker House will also offer a dedicated cured meat and cheese bar along with a small selection of vegetarian and seafood driven dishes. Designed with exposed brick and concrete walls where blues, rock and jazz music will fill the air, the venue has a 200-person capacity with an on-street outdoor room for approximately 24 guests. In what promises to be a temple of malt whisky, make sure to try their signature drink the Boilermaker House Whisky Sour. Boilermaker House, 209-211 Lonsdale St, Melbourne, VIC, 0424 270 082
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CLASSIC COCKTAILS
The
Margarita L
SALT
While there are some who believe that salting the rim is a cheap way of covering up the fact that your margarita is unbalanced (Julio) there are those that think the salt is an integral part of the drink (Tomas). Regardless of opinion, the salt changes the dynamic of the drink and Tomas believes it’s necessary to ask the patron if they want it or not – and where that’s not feasible, salting half the rim gives the patron the options to drink with salt or without. Tomas also notes that salt can – and should – be played with when experimenting with margarita flavours, whether that is with volcanic salt, pink salt, chilli salt and more.
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ike many classic cocktails, the exact origins of the margarita and its inventor have been lost in apocryphal stories and hearsay, though there are more than a few who lay claim to the honour. The first known publication of a margarita recipe was in the December 1953 issue of Esquire, which was a recipe requiring a single ounce of tequila, a dash of triple sec and the juice of half a lime or lemon. Similarly, a recipe appeared in My New Cocktail Book written by G.F. Steele and published in 1930. And again, a drink called the Tequila Daisy was mentioned in the Syracuse Herald as early as 1936 – incidentally margarita is the Spanish word for Daisy, which was in turn a common nickname for someone called Margaret. This feeds nicely into the theory that the margarita was a Prohibition invention that cropped up as people drifted south of the border seeking better drinking holes. There was a pre-Prohibition drink called the Daisy, made with brandy, which was apparently reborn in Mexico with local liquor, i.e. tequila. Then, as Naren Young points out in his seminal article on the cocktail (published in Imbibe), there is the Picador, which is made with tequila, lime and Cointreau, as well as the fact that the Sidecar is an exceptionally similar drink – albeit with lemon juice and cognac. There are many other versions of the tale, usually involving drinks made for famous dancers, vintage ‘it’ girls, and starlets, all with variations of the name Margaret, that were so delicious they were named for the beauty that first drank it. The most common “named for a historical identity” story involves Dallas socialite Margarita Sames, who apparently created the drink on a whim at one of her lavish parties in Acapulco in 1948 – unfortunately Jose Cuervo was already running ad campaigns for the margarita in 1945, so she’s out of the
running. There are countless others, however, as Young points out, the lack of cocktail culture in Mexico paired with the fact that Mexicans simply don’t drink margaritas, would imply that the classic tipple is in fact a Prohibition era twist on another drink, rather than a Mexican creation.
THE ORIGINAL When you drill down, the margarita is simply a cocktail that consists of tequila, triple sec and lime juice, often served with salt on the rim of the glass. There are three main ways it is served: shaken with ice and on the rocks; blended with ice (like a boozy slushie); or straight up without ice. So what is it that makes this the secondmost drunk cocktail in the world (behind the martini)? According to Julio Bermejo, creator of the Tommy’s Margarita (more on that in a minute), it is because the cocktail is a perfectly balanced mix of sweet and sour that makes you want to drink more every time you have a sip – and it is that balance that takes a while to nail. Bermejo is a huge proponent of the necessity of high grade tequila – don’t put something in your margarita that you wouldn’t drink straight, basically. And while 100 per cent agave tequila should always be used, do your research – pure agave spirit is not in and of itself a marker of quality. While silver or blanco tequila is the traditional spirit used in a margarita, there is a whole world of potential variations with reposado and añejo tequilas at the helm. Introducing the range of oaky, tasty notes that are on offer in those styles of tequila creates a unique take on the classic while not detracting from the sweet/sour balance that is the classic margarita. Back to the Tommy’s margarita. Created by
Classic Margarita Glass: Margarita Ingredients: • 60ml Tequila • 30ml triple sec • 30 ml fresh lime juice Method: Shake all ingredients with ice and fine strain into a chilled glass with a salted rim. Garnish and serve. Garnish: Salt rim and lime wedge. Comments: For a Tommy’s Margarita, simply replace the triple sec with 15ml of agave syrup. Shake and serve the same way.
Bermejo, it forgoes the triple sec in favour of agave syrup in order to lower the alcohol content and bring the tequila to the fore of the nose and the palate. The sweetener also works well given that the most common limes in Australia are Tahitian limes, which are naturally tarter than their Mexican cousins, which can throw out the balance of a classic margarita, necessitating some sweetening to meld the flavours. While there has been a historically large variation in the styles of glasses in which a margarita can be served – including schooners – the traditional glass is the classic looks-like-an-upside-down-sombrero margarita glass, though cocktail glasses and rocks glasses are also common.
VARIATIONS ON A CLASSIC Margaritas are ripe for experimentation, and we’re not talking whether or not you serve it frozen or otherwise. Classic flavours of Mexican cuisine work perfectly with the drink, like at Lonesome Dove, Texas, where they muddle tequila with jalapeño and cucumber, for a refreshing a spicy point of difference. Don’t be afraid to look outside the box for herbal additions either. At Antique Taco, Chicago, they add rosemary simple syrup and a rosemary sprig garnish to create the Rosemary’s Margarita. Mezcal forward margaritas are also featuring heavily on menus around the world, with either mezcal floats on classic margaritas, or, like at Masa Azul in Chicago, with the spirits as the major player. Their Where There Is Smoke margarita is a play on words and flavours with the smoky mezcal hitting first followed by some fire from added serrano chilli. Closer to
home, Freda's Bar & Canteen in the inner Sydney suburb of Chippendale offers a grapefruit and mezcal margarita. Mi Corazon, Melbourne, has a whole section of its menu dedicated to margaritas, with the classic style lined up against some more interesting options – try the hazelnut margarita with vanilla – infused tequila and Frangelico; the chilli mango margarita with chilli-infused tequila, or the coconut margarita with coconut tequila, coconut milk and a toasted coconut rim. And the menu also hits on some key trends with the earl grey margarita (earl grey infused tequila, Licor 43, lime juice and peach bitters) and the espresso margarita (coffee tequila liqueur, Tuaca, creme de cacao and a shot of espresso). And then there is the option to go big, or go home – at Viktor & Spoils, NYC, you can order the US$69 Decadent Daisy with Don Julio 1942 añejo tequila, Grand Marnier 100th Anniversary, Del Maguey Santo Domingo Albarradas mezcal, and fresh-squeezed tangerine and lime juices.
TEQUILA VARIATIONS As well as offering a solid range of flavour variations, there is plenty of potential for organising your margarita menu by type of tequila: blanco, reposado, añejo and special edition reserva. Julio believes that the classic cocktail is a great way to introduce drinkers to different styles of tequila in a non-threatening way (as compared to a straight up nip in a glass). And though he may be biased, Julio also recommends that the Tommy’s Margarita is the best way to do so as it negates the interference of the triple sec on the nose, bringing the tequila to the fore. b&c
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d i u q Li LIQUEURS
ALCHEMY Daria Kurilo examines the broad and historically important category of liqueurs.
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teeped in a rich cultural heritage, liqueurs are the basis of some of the world’s most famous mixed drinks and cocktails. Originating from the word ‘liquifacere’ which means ‘to dissolve’, proto-liqueurs were being distilled by the Chinese, using fermented rice wine, as early as 800BC. The Ancient Egyptians and the Ancients Greeks were also getting in on the act from as early as 400BC, using fermented grape wine as a base. Historians and archaeologists suggest that these early versions of liqueurs would have been macerated with fruits and spices to make them more palatable. Later, the alchemists and monks of the Middle Ages in Europe began to explore the potential to create the “elixir of life”. The ingredients that were chosen – spices, herbs and other botanicals – usually had apparent healing properties. The idea was to create drinks that could be used for medicinal purposes – in much the same way some Europeans use Scotch or brandy as a cure-all. The liqueurs created in these experiments were generally lower in alcohol and relatively high in sugar content – though it should be noted that some were considerably more potent depending on the style. Because of their ancient origins, it is difficult to identify the first liqueur brand in the modern sense. Many brands and styles of liqueur lay claim to being invented in the 16th century in Europe, at the height of the craze for alchemy and the search for the Philosopher’s Stone (the mythical substance that could turn any metal to gold and keep its owner in good health forever). The famous French liqueur Benedictine is documented as far back as 1510 when it was first produced by a Venetian
monk. While it was present in the early days of liqueur production, it was not for sale until the 19th century when the original recipe was re-discovered, modernised and put back into production – all while keeping the actual recipe a closely guarded secret. Another of the first ever documented liqueurs is Kümmel, which was, and still is, created using caraway seeds, cumin and fennel to give it an aniselike aroma and flavour. It is believed to have been first distilled in 1575 by Lucas Bols of Amsterdam, Holland, and was dished out to ill patients to aid with their digestive problems. Chartreuse is another famed liqueur that began life as a medieval preparation. To this day, the popular drink is distilled only by Carthusian monks. It is named after the order’s
NATIONAL IDENTITY Top liqueur-producing countries include France, Italy, Holland, Germany, Hungary, Japan, England, Russia, Ireland, U.S. and Denmark. For many, liqueurs have become a symbol of their national identity, the result of using local ingredients to flavour the liquids. Outside of the obvious European examples, there’s Ume Shu, made with the Ume plum and found in just about every home in Japan. In South America, meanwhile, there’s a liqueur made from the Ugni molinae berry, which is local to southern Chile.
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Grand Chartreuse monastery, located in the Chartreuse Mountains in France, and follows a secret recipe that was given to the order in 1605. In production since 1737, it is made with 130 different herbs, flowers and plants that create the natural green and yellow colours. It’s also one of the few spirits said to improve once bottled. These are just three of the many liqueurs established long ago that still grace the shelves of bars around the world today – a testament to the robust and influential nature of this category.
Get Creative
There is more than one way to skin a cat, and there is certainly more to using liqueurs than simply adding them to the mixing tin or pouring them over ice. One of the more inventive users of liqueurs is the 2014 winner of Bols Around the World, and leading bar consultant Kate Gerwin. She loves to use liqueurs with complex flavours as they take her drinks to the next level – taking a classic recipe and swapping out Galliano for example creates a whole additional layer of complexity to a straight forward cocktail. She says that it instantly changes the drink and has her drinkers instantly asking her what the twist is because they like it so much. At her own venue, Imbibe Cigar Bar in New Mexico, Gerwin also likes to use liqueurs in slightly less conventional ways. “You can make candies with them, I’ll put them in sprayers and spray sugar with them and then I’ll dehydrate it to make flavoured sugars,” she says. “If you look at the culinary world and how they use ingredients – that is how I mock things up.”
ABSI N COR THE NER
at Cer
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Disti llerie fondée en 1890
The Genius of the Absinthe from Father to Son. Val Travers, Pontarlier, France
WHAT TO STOCK With hundreds of liqueurs available, what to stock in your bar depends on several factors: most importantly your clientele, your cocktail list and the space you’ve got behind your bar. Staple products would usually include Cointreau, Grand Marnier or another triple sec style product, as orange flavoured liqueurs are standard in a number of key cocktails. The popularity of espresso martinis and the fact that coffee as a flavour is trending suggests you should stock a decent coffee liqueur too. Mr Black, Illyquore and the widely known Kahlua are three of the many available. If you run a more mainstream establishment, you shouldn’t ignore Baileys Irish Cream and Tia Maria, two of the category’s biggest sellers. Don’t forget, too, that you can really make a feature of liqueurs. New York bar Pouring Ribbons features a list of 15 different bottlings of Chartreuse, giving its drinks list an instant point of difference and highlighting its serious spirit credentials.
PRODUCTION Liqueurs are created by adding flavouring agents to a base spirit and then sweetened – usually with sugar, sugar syrup or honey. Anything from fruit and herbs to seeds, roots and barks are used to flavour liqueurs and there are a variety of methods involved in extracting the flavours. With infusion, the ingredients are steeped in hot water mixed with the alcohol base. Maceration involves cold extraction over a long period. With this method the flavouring agents are steeped directly in the (cold) alcohol base for several weeks (or longer). The percolation method differs from maceration in that the alcohol is dripped through or propelled through the flavourings to extract their essences. Some liqueurs are produced using a pot still, with the base spirit distilled with the botanicals to extract and concentrate flavour. The particular production process depends on the liqueur, and is often a closely guarded secret. Liqueurs can be aged in wood but are more likely just to ‘rest’ after their production to allow flavours to marry. The alcohol strength of liqueurs varies enormously, depending on the specific product or
style of liqueur. Some liqueurs have an alcohol content as high as 55 per cent (Chartreuse), but that is rare, with alcohol levels usually much lower, often between 15 per cent and 30 per cent. The key component for liqueur is the flavour rather than the alcohol content, and that is what makes them so useful behind the bar. Kevin Griffin from Melbourne-based cocktail bar 1806, explains, “A liqueur usually has less alcohol and more ‘suave content’, therefore they are key to adding flavour to cocktails and not being too strong in alcohol.”
USING LIQUEURS While liqueurs can be consumed straight up or on the rocks, more often than not they are used in the flavouring of cocktails. While some spirits are essential behind the bar, liqueurs are also something that you can’t (or shouldn’t) live without, giving your cocktail repertoire a lot more room to move, according to Sacha Delfosse, exLuxe Bar in Perth. “Liqueurs give you more to play with. You can only add a little in some cases and it will do wonders,” he says. b&c
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'S INTERIOR
BA CHARLIE
THE KGB AT ORIGIN BAR
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theis setstage VENUE THEATRE
BA CHARLIE
'S SECRET DO
OR
We take a peek behind the haze of dry ice smoke to see what really drives the art of venue theatre, and seven ways you can apply it to your venue.
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ith the number of venues increasing all the time, creating the right atmosphere and adding that little something that makes your guests want to return is more important than ever. But what to add and where to start? With a lot of popular concepts now approaching saturation point, adding some theatre rather than changing up your concept could be the way to go. However, according to Grant Collins, owner of Sydney’s The Powder Keg and international consultant through his company, barsolutions, the most vital factor is not adding theatre simply for the sake of having theatre. “Everything’s got to make sense,” says Collins. “We put an immense amount of thought and research into everything. And I think too many people chase the gimmick.” He says that while a lot of people chase the “bells and whistles” and the “smoke and the flames”, he works backwards with his team to ensure that any theatrical elements – including drinks – make sense in the space, by having a tiein to the theme, and even the name, of a venue. “When we came with a concept of what The Powder Keg was going to be, what the real anchors of the concept were, obviously the drinks came into that,” he says. “And it’s a matter of getting the mix right.”
1. SMOKE & MIRRORS While it may seem like a great idea to simply pour liquid nitrogen into an existing cocktail and deliver a smoking drink to your customers, there is a fair bit of thought that has to go into constructing a cocktail menu that has plenty of theatre. “Even though a lot of our things look gimmicky, it’s all about quality,” he says. “We work backwards, so we build the drink in first then we build the X factor in on top of it.” Firstly, cover all the bases. According to Collins, if your guest wants a great classic cocktail they should be able to get one – not everyone wants a drink that will shoot flames. Another thing Collins is big on is experiential drinks – that is, bringing all the senses into a drinking experience. “It’s got to be visually stimulating, there’s got to be a scent or a smell that goes with it as well, then obviously the taste has got to be great,” he says. “I love seeing people get excited by what they’re seeing, because that’s exactly what we’re trying to do, we’re trying to stimulate the brain.” Collins believes in playing with physiology – whatever you taste, whether food or drink, your brain tells your stomach to get ready for something nice. So if you stimulate a customer’s brain their drink is going to taste a lot better –
though Collins also says that customers are still often surprised that their drinks actually taste great as well as looking amazing. “It really is about quality first in this day and age,” he says. “It’s got to taste bloody good. It doesn’t matter what else it does. We work really hard on making it all work.” Experiential cocktails have world wide appeal, appearing at Artesian in London – the ‘world’s best bar’ – in the form of the “Unfolding and Exploring” portion of their menu, an innovative cocktail collection that is relaunched every year with a new selection. It includes the Digidiva, described as a “3D elixir” that changes flavour with every sip. Hong Kong concept bar Origin has a menu that features a range of intricate ginbased cocktails, including the popular KGB – a gin martini that is served in a mini bath tub complete with tiny rubber ducky and edible bubbles – which head mixologist Antonio Lai designed to invoke happy childhood memories of taking bubble baths.
2. SHOW SOME FLAIR While not everyone has the ability to “bump” their way through creating a cocktail, there is a lot more to flair bartending than meets the eye. And according to Simon Hough, managing director of
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VENUE THEATRE WORK HARD D R KEG TEAM THE POWDE ALLY STIMULATING AN VISU DRINKS TO CREATE DELICIOUS
However, Hough also notes that anybody can throw bottles and mix drinks. That said, if you can do all of that while creating a quality product for a customer then you will be one up on a lot of venues. “Some people think it’s just chucking stuff and that just throwing bottles around is ok,” he says. “But it’s not. It’s all about the service, service has to come first.”
3. MAKE IT PERSONAL
Perth bar The Flour Factory, flair bartending has a place in any venue – within reason. “It’s all about timing,” says Hough. “Appropriate timing for performance style of bartending is definitely important. It depends on the person – if they’re confident and fully trained it can really be effective.” Hough says he bases all of his repertoire on “controlled working flair”, however he reinforces that it isn’t all about throwing bottles or shake tins, sometimes it is simply a very personal style of service, unique to the bar or the bartender. “It’s really a big grey area of performance,” he says. “It can be anything really. It’s about style and getting your bartenders to have a bit more style about them.” It is an opportune way to create buzz about your venue – whether it is aerial work or simply a classic cocktail bar offering precision, and clean service (which Hough insists is a flair style in and of itself due to the skill required).
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Personal, and personable, service can create theatre in the simplest terms. As Hough points out, having a hook or a niche for your venue creates instant theatre, however, he says that backing it up with someone who looks happy to be setting something on fire and enjoying themselves creates a further experience for the customer. “It looks a lot better when someone is there with a big smile,” he says. “If you’ve got somebody who’s got a bit of personality and not just a bit of cardboard behind the bar trying to do something cool, then you’ve got theatre. It’s really simple to give a little bit more to the clients than just doing a process.” Collins could not agree more, pointing out that he has yet to do a “serious” concept in any of his bars. “We just want to create a fun environment,” he says. “I always think bars should be an escape from life when you’ve not had a great day in the office or a good week. And that’s all part of the theatre so you can have a bit of fun when you go out.” He is outspoken on the topic of bartenders that take themselves too seriously, believing that escapism is one of the best things a bar can offer, along with the allure of great cocktails and a bit of theatre around cocktail service. Simply offering a themed bar is not enough. “They become a bit staid after a while to be honest,” he says. “Once you get in there and you’re getting served by a bartender who takes his job way too seriously, it all gets a bit much for me. So we just try to have a bit of fun with it really.” He always tries to make his bars fun and to encourage staff that enjoy themselves and enjoy creating the cocktails on the menu.
4. THE SOUND OF MUSIC Live music is an easy way to create atmosphere and draw crowds to a venue, however, getting the balance right can be an issue. Anna Scott,
co-owner of The Little Guy in the Sydney suburb of Glebe believes that live music can not only create theatre in a venue without much effort, but also creates a central role for a venue within its community. “When we have live music the bar is alive, there is more energy and people are drawn into the upbeat vibe,” she says. “The fact that we support so much live music brings the community together, whether it be through mutual love of music or our open mic night which is incredibly social and welcoming.” That said, it isn’t for the faint-hearted. Though punters often lament the loss of live music venues around the country, Scott points out that it isn’t easy for a venue to turn a profit despite higher numbers of customers coming to enjoy the music. “Live music certainly draws more of a crowd and bar sales are higher although it would be nice to see more support of it,” she says. “Often it's hard to make a profit – after paying the musicians well – and it’s hard to see the benefits.” Live acts aren’t the only way to introduce fun, entertaining theatre to a venue. The Little Guy runs a competition called Jukebox Hero. Scott says the event is basically “a customer Spotify DJ championship”, something which is both interactive and fun. “For us, patron enjoyment is our number one priority and what better way to do so than getting them involved and giving them some control,” she says. “Particularly when it comes to music selection – because everyone thinks they have the best taste in music, right?” She jokes that the competition came about simply because the bar staff were getting sick of taking music requests. The important thing here is to read your clientele – The Little Guy caters to a mixed crowd of drinkers who are happy to be known by name and turn their hand to DJ-ing for an evening for some fun. In other venues, a simple live act selection could be a better choice. Assess your audience then proceed accordingly.
5. THE LITTLE BLACK BOOK Rather than a selection of phone numbers for nefarious purposes, this is instead a hidden cocktail list that has to be requested. While the concept of a secret menu that a customer has to ask for is nothing new – as anyone who has been to In-N-Out Burger in the States can tell you – the point of having one is simply to make your customers feel like they are in on a hush-hush feature of the bar. It is instant, subtle theatre. Just make sure it suits your bar’s concept. For example, The Powder Keg’s secret menu has a few ginthemed surprises in its pages. “We’ve got a little black book which you have
THE DIGIDIVA IS A 3D DRINKING EXPERIENCE
to request from behind the bar,” says Collins, “And it’s got a load of really obscure 16th century gin cocktails in it.” It's a bit of fun, and certainly an eyebrow raiser, to entertain the bar's more adventurously-minded customers.
6. FOOD, GLORIOUS FOOD Food can also create a touch of theatre in a venue. While Collins counts himself lucky to have a chef who loves the theatre of presenting food in an interesting way, and cooking with gin for that matter, there is more to it than that. Originally conceived as a waiting room for their ridiculously popular dumpling restaurant Charlie Dumpling, the team behind Ba Charlie in the Melbourne suburb of Windsor went above and beyond on their food offering in an effort to continue the wow factor – more on that in a moment – but also to offer patrons something a little left of centre. They certainly succeeded, with their cheeseburger dumplings catching the attention of guests and the media alike. General manager Kathy Gamble is pleased with the effect of the menu. “It really captured people’s imaginations,” she says. “I think the food is definitely a drawcard.”
7. TAP THE THIRD BRICK FROM THE LEFT Ba Charlie has the added thrill of being hidden in plain sight. What started as an idea for a takeaway
dumpling space and waiting room for Charlie Dumpling visitors, soon became a hidden bar that has become popular in its own right. “We see people walking past at night, and the door will suddenly open,” says Gambell. “And the looks on their faces – they’re quite incredulous.” The bar was partly inspired by the American bars that excel at the speakeasystyle hidden door, with the architect first floating the idea of the blank, illuminated menu wall, according to Gambell. “What we really liked about it – we wanted to not make it too complicated – was that we hadn’t really seen it before,” she says. The contrast of the front-of-house brightly, lit takeaway dumpling area and the darker, more moody bar area, instantly creates an atmosphere that is backed up by the attention to detail in the venue. With the new cocktail menu due to be released soon, the team have been finessing a list that appeals to a broad variety of their patrons – testing what is popular and culling what isn’t. “The idea of giving them something to interact with has definitely been what we have seen work with the customers. It creates a good rapport.” she says. “But the prime focus at the bar has to be the beverages. The guys have spent a lot of time developing their cocktail list.” The hidden entrance idea has plenty of
precedent, with speakeasy-style bars in the US perfecting the art of hiding themselves away, while still being in high demand and full of drinkers; a clear indication that there is a solid, cohesive concept at work behind the bar, rather than a reliance on a gimmick to draw in the crowds. The most famous has to be Please Don’t Tell – or PDT as it is commonly known – which can be entered through a phone booth in the back of a hot dog shop. Guests use the rotary dial on the phone to get a host who will let them in. Elsewhere, the Noble Experiment in San Diego is a bar within a bar. Located inside Neighbourhood, a popular craft beer bar, one can simply push on what looks like a stack of old, empty kegs by the bathroom to enter a whole new world. In Chicago, Maria’s Packaged Goods & Community Bar is hidden behind an unmarked door in a small, unassuming-looking liquor shop. b&c
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DISTILLING
Pot distilled spirits are unique in the world of distillation, but what does it take to create a still that will produce the exact sort of spirit that a distillery is after? We spoke to Australia’s leading stillmaker to find out.
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,Copper…? THE STILLS AT GLENDRONACH, IN SCOTLAND
till-making is an intricate business, albeit a lucrative one, especially with the Australian craft spirits market on the up and up. However, Tasmanian-based Peter Bailly – the man behind some of the best known stills in the country – wasn’t always involved in the industry. In fact it wasn’t until 2000, when a safety issue saw him called in by the authorities to help fix an issue on an existing still that was manufacturing spirits at a distillery in Tasmania that Bailly became involved in the business. Through his company, Knapp Lewer Contracting – specialising in electrical boilers and steam and hot water boilers – Bailly fixed the issue, and in doing so met Bill Lark. It was a serendipitous meeting – the Australian whisky legend was on site at the distillery to help the team with managing their quality control and was, according to Bailly, in the market for someone to build him a larger still. “He had a small one and a 500L one that he used already and he wanted to upgrade his production,” he says. “He needed someone who could design him a still to his specifications, with workshop drawings and all the rest of it. So I offered our services, and did the job, and when I handed him over all the paperwork, I asked him who he was going to go to get to quote.” THE ARCHIE ROSE GIN STILL
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TURN TOWARD THE LIGHT
THE REYKA VODKA CARTER-HEAD STILL IS CUSTOM BUILT
It turned out that Lark wasn’t quite sure where he was going to go to, so Bailly asked if he could provide a quote for the manufacturing job. “That’s where it started,” says Bailly. “I gave him a quote and he accepted, and I built the first still. It’s still in use – it’s Bill Lark’s 1800 litre wash still.” Like a lot of distillers, Lark was specific on his still design when he requested the engineering specifications to be designed by Bailly. In order for a still to be created in the workshop detailed designs need to be created including the heating, the electrical elements, the cooling, and more.
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“He had sort of a sketch that he had drawn up, where he pointed out that he wanted this and that, and measurements,” says Bailly. “More or less the shape of the still he had drawn up but he needed engineering work outs. That’s what we handed him over. And then of course we got it back.” The stills Bailly creates are totally customisable and are designed to reflect the preferences of the client in terms of what style of spirits they want to create. “I will work to whatever the client wants, but by the same token if someone comes in and they haven’t got a clue, they will now be able to get some guidance,” he says. “I sort of have a standard design now that I show everyone and I say look this is what you’ll get and it will cost you so much, but feel free to change – stretch it this way, stretch it that way, cut that out, and that’s how we arrive at the different designs for everyone. They all look similar but they all have changes – some people want a longer neck for a lighter spirit and so forth.” One such customer, who speaks very highly of Bailly and his still making, is Archie Rose’s owner Will Edwards. He was seeking
Not all pot stilled spirits are dark and oily – or even light and botanical heavy. While gin is the most common white spirit to come out of a pot still, there are plenty of vodkas now being produced in stills other than the column variety. The copper vessels provide a unique flexibility with the spirits produced, and remove impurities with less distillation required. Reyka Icelandic Vodka is an interesting case, with the spirit produced in a Carter-Head still. Normally associated with the production of gin – Hendrick’s is an example from the same stable – the still is key to the finished product as it makes reportedly the “cleanest spirit without any impurities” with only one distillation. The use of the still comes down to William Grant & Sons getting creative and running some vodka production in 2004. It was successful and the still was applied to the production of Reyka Vodka – with Scotland’s premier still builder commissioned to build a replica of the Hendrick’s Gin still. Originally designed in the late 1800s by the Carter Brothers, coppersmiths who worked for the distillery engineering company Aeneas Coffey & Sons in London, the Carter-Head removes impurities in the neutral grain, as well as aldehydes and higher alcohols that can taint the spirit. On a local front, Hippocampus Metropolitan Distillery uses a copper still made by the German family-owned company, Carl. The company only constructs about 25 stills a year, and has been doing so for 140 years, making them experts in the field. The small, traditional multi-faceted still not only allows for a lot of flexibility, but also removes the impurities and harshness from the vodka. Incidentally, her name s Kylie, after the tradition of giving boats a female name. Similarly, Archie Rose produces its gin and vodka in a custom made Knapp Lewer copper still – a fraction of the size of their large whisky still.
DISTILLING
a very particular style of still and had struck out with other manufacturers due to their inability to customise to the level of detail that Bailly offers. “The diameter of the neck, the height of the neck, the way the swan neck sort of curves over, the length and slope of the line arm. All of those things contribute to the final flavour profile,” says Edwards. “So in that regard, [Bailly] being able to do everything from the ground up was perfect. They're hand built. All the curves are hand-hammered. I mean, you can do anything. So the necks are a little shorter, and sort of squatter than – there is no standard still – but a ‘standard’ still.” Bailly went on to research stills after his initial work with Lark, creating a database of information from which he could create a wide variety of stills. “After the first one for Bill, I of course did some more refined research and I relied on history,” he says. “Alcohol making has been going on for a long time so I went to libraries, on the internet – whatever I could find to read and see what has been done. And that’s always a good start because these products that have been used for centuries are good, so I based all future design and shaping on those historic designs.” He also travelled to the home of whisky distilling to see some of the stills that have been used for centuries in action, and to learn more about the shapes. He says that
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PETER BAILLY BUILT THE STILLS FOR SYDNEY'S ARCHIE ROSE
DISTILLING
little input from the operator, once in equilibrium, and maintained in that state. Pot distillation is much more hands on and requires constant tweaking to maintain a quality end product. Running speed, ambient temperature, reflux, and even the individual operator all play a role in affecting the composition of the finished spirit. These variances makes pot still spirit unique with each batch differing slightly to the next from the same feedstock. It is a true craft that requires patience and time to master.
MIXING IT UP
Pot distilled spirits add a whole other dimension to your cocktail repertoire. We chatted to Richard Angove, St Agnes Brandy, about the process, selling pot stilled spirits over the bar, and how to add them to your cocktail repertoire. How does pot distilling influence the flavour and quality of spirits? Unlike continuous stills in the pot still there are many small reactions. The Maillard reaction (a reaction that produces a myriad of attractive flavour compounds) takes place in the pot during distillation producing many different compounds, some desirable in flavour and some not. Using a pot still allows us to make the correct cuts for heads/hearts/tails, this is the most important aspect in determining end spirit quality. This starts with assessing the base wine prior to distillation and gives the distiller the opportunity to manipulate the projected cuts to take best advantage of these desirable compounds. Factors to consider here are product style and the degree of complexity desired – i.e. a light versus heavy spirit, ester concentration, palate weight/smoothness/richness, and even the length of time it’s destined to mature. The small batch nature of pot distilling means we can be very targeted in the style of spirit we create. Our style is a lifted, fragrant brandy, elegant while at the same time having power, richness and a smoothness that allows it to be mixed as well as enjoyed neat. How does it compare to the use of the column still? Pot stills can be considered small batch, artisanal, it is a relatively long slow process giving a high quality spirit with high ester concentration. Column still continuous distillation is quicker therefore cheaper and more suited to mass production of a consistent style of spirit but lacks some of the flavour compounds found in pot distillation. A column still can run pretty much automatically with
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What makes pot distilled spirits more mixable? Pot distilled spirits generally give a complete spirit that has layers of flavour. Unlike many spirits that are column distilled, brandies – and gins for that matter – which are pot stilled have loads of flavour and can seriously add to the taste, complexity and texture of cocktails. We do not aim to strip out flavour which is often the case with continuous still spirits like some vodkas, we aim to enhance and concentrate it through the pot still distillation process. Drinks, like food, are all about flavours and pot distilled spirits generally have a lot of flavour to contribute to the drink. What makes pot distillation so unique? As a pot still is a small batch, crafted process, and is very much hands on, the craft of the distiller on show. This is very similar to a bartender, where each bartender will add their personal touch to the mixing of a cocktail, the distiller will add their character to the spirit through the pot distillation process. Many pot stills will even be named and that gives character as well. Pot distilled spirits take on fantastic flavour through the distillation process and that adds to the cocktail the customer is buying. Unlike vodka and some other spirits where the aim is to strip out flavour and create a neutral spirit, distillation of wine to make brandy in a pot still results in a spirit full of rich fruity grapey flavour, perfect to mix with as it adds so much more than just alcohol to the cocktail, it adds flavour. What are some suggested serves for St Agnes? The St Agnes Sazerac for a strong drink – 60ml St Agnes XO, 10ml sugar syrup, four dashes of Peychauds Bitters, one dash of Angostura Bitters and a splash of absinthe. It’s proof that the new does not always equal better. Commonly seen today as a whisky drink, the original Sazerac is a comeback 140 years in the making and was once made with Cognac (aka brandy). Chill your finest crystal tumbler with crushed ice. In a second glass, combine sugar, bitters and St Agnes XO; stir until chilled. Empty the first glass and rinse with absinthe; pour off excess, strain the chilled mix into the first glass and garnish with citrus. Or for something more simple – St Agnes XO or VSOP over ice with a dash of ginger beer, either alcoholic or non-alcoholic.
Scotland was “eye-opening”, allowing him to accumulate a large amount of material, impressions, photos and more to form ideas about the shape of the stills he now creates. According to Edwards, still owners tend to be rather cagey about their dimensions, but Bailly is not one to be put off easily. “He went around trying to find the perfect still dimensions,” he says. “So he was trying to get the dimensions of 20, 25 of the most famous stills in the UK.” After recreating them from the photos that he collected on his trip, Bailly now has a range of still options that he can offer to prospective distillers. “He’s sketched these stills and, knowing what styles of whisky they produce, he can think about the flavour profile you’re looking for in your whisky, how that then translates back into the shape of the still,” says Edwards. It’s a complicated process, with every detail carefully thought out and articulated to create the best possible whisky. Though it should be noted that the urban legend about the Scottish distilleries recreating every bump and dent from an old still into a new one is just that – a legend. With the price of stills already at eye watering levels, there is no sane person who would deliberately damage a brand new copper still. While Edwards says that his still “took a year less a day to build”, the initial consultation period can add time – especially if a new distiller hasn’t really settled on the style of spirit they want to produce. Bailly says that with most clients also
working their own full time job on top of opening a distillery, the process from the initial meeting to sketches to final sign off can stretch out. “It goes forwards-backwards several times but it can be all done within a week or it can take a few weeks, even a couple of months,” he says. “Until everything is finalised.” After the sign-off the final still design drawings are completed, sent for approval, and then the copper has to be ordered – which can be an unfortunate spanner in the works, depending on a few different factors. “As far as I know there are no copper mills in Australia any more so the copper comes from overseas, and if there aren’t any stocks, then the wait can be lengthy,” says Bailly. “Recently, stocks have been pretty good, I didn’t have to wait very long until I had the copper coming into the workshop. I get the copper cut in Melbourne, so it goes from the supplier to a cutting company and then we get it, that process usually takes three to six weeks before I receive the copper.” As with most metals, there are different grades of copper that can be ordered and worked with. Bailly uses food grade copper – for obvious reasons – though there is also electrical grade, and structural or architectural grades on the market. From there, the construction begins in earnest, with very careful guidelines to be followed to ensure the integrity of the final product. “There are some engineering guidelines in that it has to be a minimum thickness – you want the vessel to hold its volume of liquid,” he says. “It’s the thickest on the bottom and as it goes up, strength is not so much needed closer to the top so the metal gets thinner.” It’s also a cost saving measure – remember the mention of eye-wateringly high prices – as copper is not a cheap material. “We have to scrounge everywhere we can,” Bailly says. All that effort and expense is not a lifetime investment, however. That said, the stills will last a long time, depending on how they are used of course. As Bailly points out,
SCOTCH STILLS DOUGLAS COOK, REGIONAL SALES MANAGER AT GLENDRONACH “Glendronach has fairly bulky stills, while others have very tall necks, ours are medium height – the higher the neck, the further the alcohol vapour has to travel. The wash stills each hold 9,000 litres and the spirit stills hold 6,000 litres. The spirit stills have quite sharply descended lyne arms – with the angle of the lyne arm, a steep ascending creates more reflux, and descending captures higher alcohol – therefore it means that some of the low wines will fall back down into the still to be redistilled. However, because the stills are not short, but they are not overly tall, it means that some of those heavier alcohols rise up
KYLIE, THE HIPPOCAMPUS STILL
the 24 hour, seven day a week, production that takes place in some of the Scottish distilleries is out of reach of the smaller distilleries that are currently functioning in Australia, so the discrepancies in age will be significant. How long do they last? “In Scotland I think they’re talking 25-30 years,” he says. “If it’s used in the cottage industry down here, where the still is firstly not run 24 hours a day, and secondly most of them don’t run every day, then it will last a lot longer.” Unsurprisingly, with the upswing in demand for locally produced spirits and the incredible heights
to which Australian spirits are rising on the international scene, Bailly has seen an upswing in demand for his services. And while most of the demand is in the whisky arena, there are plenty of other spirit stills rolling out of the workshop as well. “The majority is whisky, but I have been asked to produce a few stills that are going to be used for gin, vodka, and other spirits,” he says. “It’s always when you start up in the spirits business as a new distillery, when you do whisky, you have nothing for sale for a minimum of three, four, or five years. So you have to bridge that time and that is usually done by spirits that are manufactured in a shorter time.” A few of the distilleries Bailly has manufactured stills for include: Archie Rose and Lark, of course, as well as Distillery Botanica north of Sydney, the Sydney Distillery in the Hunter Valley, and Stone Pine Distillery in Bathurst. In Victoria there is the New World Distillery in Essendon Airport, and Timboon Railway Shed Distillery. Then Great Southern Distillery in Albany, WA, and Tamborine Mountain Distillery in Queensland. Just don’t ask him to pick a favourite. “Oh no. I couldn’t say that. There’s no favourites,” he says. “I like them all – they’re all my babies.” b&c
and over the neck of the lyne leading to a more full bodied spirit. There is a combination of factors that lead to the whisky being fuller bodied: mineral content in the water; the fermentation time; the shape of the stills; and the sherry casks. All of these aspects come together. Certainly the Glendronach stills you would probably describe as typical Highland, the shape is not uncommon and they are kept in pristine condition – they’re absolutely immaculate.”
LAURA HAY, GLENFIDDICH AND THE BALVENIE BRAND AMBASSADOR “The more copper contact you have while distilling, the more complex the spirit is going to be. So the important things are the size, the shape, the length of the still and also the length of the distillation. As we're boiling
our wash it distils off and, as it steams, it hits off the sides of the copper to create what we call reflux. So, if you have a big curve in your still, and a boil ball that it gets trapped in, there will be extra reflux – meaning you get more chemical compounds and more complex flavours. Every distillery has its own unique shape and size and that determines the character of the whisky. The swan-necked stills at Glenfiddich are the same shape as the originals from when the distillery started in 1887 and, like most Scotch distilleries, we distil twice. The unique shape of the stills at Glenfiddich means that we get quite a high alcohol spirit – it can be as high as 74 per cent. At Balvenie, the pot still is very tall and the lyne arm points down after the neck, whereas in the spirit stills the arm rises after the bend, which makes Balvenie a sweet and smooth whisky.”
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OPERATOR PROFILE
s e n u N o c r Ma
A legend on the bar scene, Marco Nunes has been at the forefront of the rapidly evolving Brisbane bar sector since he moved to the Sunshine State from London town. We caught up with him to chat about what he’s learned through his time behind the bar.
A
career in hospitality was always on the cards for Marco Nunes. According to the bartender and bar owner, he always loved being around drinks and around people, and there was no question of what he wanted to do in his future career. “As I grew up, my passion for personal interaction became bigger and bigger,” he says. So, when he moved to Paris, Nunes embarked on a four year Hotel Management course, before indulging his passion for bartending. “Because I always liked the bar more than anything else, I did a one year bartending course in Paris,” he says. “And then I started to work in bars.” Nunes learned the French style of bar service – something he says has stayed with him throughout his career and still influences how he runs his bar today. “Customer service is the main thing,” he says. “The attention to detail – the French are pretty good at that. The one thing I have learned from France is to do whatever it takes to make someone happy.” After moving to London and working in a variety of venues, including TGI Fridays – which he credits for its customer focus if not its cocktail repertoire – Nunes met his wife, an Australian, and after a few years they decided to give Brisbane a shot. “I thought, Australia?” he says. “Ok, I’ll give it a try. Next thing you know I’ve been here for 10 years.” Though it wasn’t all great beaches and sunny days – to say that Brisbane's bar scene was a little under developed is an understatement. For a bartender coming from London, which at the time Nunes notes was probably the world’s leading cocktails scene, arriving in Australia was a culture shock. However, though Nunes says the industry was “a few steps back” from what he was used to, people were keen to learn the skills and techniques to follow in the footsteps of other famous bar scenes.
“No one was really pretentious. It was a good time to come in and work with bartenders,” he says. “It was challenging as they really wanted to learn and to grow and get better. So it was pretty good to come at this time in the industry.”
AN ARTFUL BAR Nunes was instrumental in shaping the bar scene in Brisbane, with he and his wife, Emily Nunes, partnering up with Bonnie Shearston and Tom Sanceau to create Canvas. “We wanted to open a bar where we would love to hang out,” he says. “We wanted to do the proper cocktail bar table service so that people could sit down and get the whole experience.” A bar of his own would also be able to indulge his passion for cocktails. Fortunately for Nunes and his partners, their huge personal investment in the venue was well received, despite their location having little foot traffic – the area was supposedly earmarked for development at the time according to Nunes. “We were lucky that the media really got behind us,” he says. “My wife is a PR machine. So they all wanted know about who we were and what we were doing.” Nunes points out the importance of finding a niche – by placing themselves in a different part of the market, they created a buzz and then in turn a demand for their style of service. With the capital raised personally, Nunes says that he and his partners pulled all the strings they had to get it opened as cheaply as possible. “It was a matter of going out and shopping for quotes and working smart,” he says. “But, be realistic about how much you can do on your budget.” Additionally, he cautions potential operators against going too cheap, as it can end up costing more in the long run. “Buy good equipment from the beginning,” he
PEARLS OF WISDOM With two successful venue openings under his belt, Marco Nunes has a few tips on how to get a new bar off the ground and ticking over. Choose your location well – chat to your lawyers and advisers and go through your lease properly to make sure that you understand all the ins and outs. Be patient – don’t expect things to kick off straight away. It can take a few months or even a few years to really put you on the map and get regular customers. Customer satisfaction is key – the French have the right idea. Focus on doing whatever you can to make your customer happy (within reason), whether that is entertaining them or leaving them alone. Regular staff meetings are a must – keep everybody fresh and across new products that are coming into the bar. Create an experience – understand what each customer wants, whether that is to be left alone, or to have a good chat. Ask the right questions – see what you can ask to identify what they like and to get an idea of how you can implement that. Money is important – understand exactly where you stand financially and how you can trade no matter how weak the market might be.
says. “We tried to get things on the cheap and they just break. So buy less, but buy good quality.” Opening a bar with multiple business partners can be fraught with danger. For his part, Nunes recommends making sure that you’re all on the same page before the doors open. For Canvas, everything gelled until the doors opened – that’s when differences in operational expectations caused a few issues. That said, there are no hard feelings and the bonus of being able to share the work load between four people was a bonus in Nunes’ opinion.
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OPERATOR PROFILE
THE BAR AT PAPA JACK'S & (RIGHT) THE COCKTAIL LIST
“The way the menu is designed, it changes every week... That enables us to keep up with the trends.” KEEP IT FRESH Nunes and Emily’s latest venture is Papa Jack’s – a New Orleans-style watering hole that turns two this November. While theme concepts can be harder to keep fresh in a bar scene where customers are seeking the latest and the greatest, Nunes works hard to keep things changing. “The way the menu is designed, it changes every week,” he says. “So that enables us to keep up with the trends.” It also allows the bartenders to express their craft, and Nunes is happy for his staff to investigate new flavour combos and techniques. Authenticity is key to the bar’s food offering, rather than following the trend of riffing on Americana. With dishes inspired by the Deep South, the couple has created a genuine experience. “Authenticity was really important. We always wanted to do a New Orleans bar rather than a broad American dive bar,” he says. “And it can be adapted to the customers as there are so many styles of bar and cocktails in this area.” That said, Nunes believes that it is important to tailor an offering to clientele, and with Australia’s growing focus on health, they have worked with the American trend for “NorthernSouthern Bistro food” – Nunes calls it a hipster thing – as well as traditional Creole dishes to create variety in the menu. It is this constant
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interest in tweaking operations to reflect his customers’ evolving needs that makes Nunes so successful – it all goes back to his training in France and the focus on customer satisfaction. However, the kitchen is a big investment for Papa Jack’s, and according to Nunes, they are still working on gaining a solid return on investment. With his licence restricting seating, they work hard to keep people’s spend per head high – Nunes believes they are doing well at this – and keep their clientele rolling over of an evening. “It’s hard to expect to perform within a year,” he says. “Within two years, we’re hoping for that. So this year we may see a return on investment.”
THE SHOW GOES ON Music is another important part of the venue, though Nunes points out that it is supremely difficult to strike a balance. “People come, sit and listen, but when the music finishes, they leave,” he says. “Make sure you’ve got it on at the right time, and for long enough to make good money out of it.” It is also important to have the right sort of band on the stage – unlike with a mixtape, where there is control over the music and the vibe, the wrong band can completely kill a night. “We spend a lot of time going through our bands,” says Nunes. “We go and see them live somewhere. It’s very important.”
TOO MANY COOKS Nunes is adamant that maintaining staff balance behind the bar is key. When Papa Jack’s began it was a magnet for some of the best bartenders in town, and while it sounded great in theory, the reality was a little less so. “It was a case of too many chiefs and not enough Indians,” says Nunes. “It grows tension. So we decided to focus on new up and comers who want to learn and get out there and work hard.” Nunes says that he focuses on attitude – if someone really wants to work for him then that is the best start. He will never ask someone to work for him twice, it presents the risk of starting on the wrong foot. “Look for someone who is a hard worker and eager to please,” he says. “Once they have that we look at how much skill they have and then we go from there.”
THE FRENCH TOUCH “The whole five years I was doing my course, and the next three I was working, everywhere I worked I was told: do whatever you want, just make the customer happy,” says Nunes. “The French are not very keen about the ‘customer is always right’ but the customer is the one paying the bill, so find a way to make them happy.” b&c
IN THE COOLER
NISSOS PILSNER 5.0% ABV After winning silver at the European Beer Awards in Germany, this full bodied pilsner is available in Australia. It is an unpasteurized, artisanal beer with a combination of specialty barley malts, aromatic hops and yeast of the highest quality, and made using a slow, traditional and allnatural brewing and fermentation process. Nissos is brewed at the Cyclades Microbrewery, on the isle of Tinos in Greece. Distributed by: Beverage Imports Pty Ltd 0417 291 575
BUDERIM GINGER BEER & PEAR The Aussie brand has just released three new flavours: Reduced Sugar Ginger Beer, Ginger Beer & Pear and Ginger Beer & Guarana. The Reduced Sugar has 60 per cent less sugar than the average. And the Ginger Beer & Guarana, infuses the taste with guarana to give it an extra kick. All three beverages are non-alcoholic, have no artificial colours or flavours and are made in Australia. Distributed by: Buderim Ginger 1800 067 686
LITTLE CREATURES RETURN OF THE DREAD 7.2% ABV Winter is coming and Little Creatures has been busy. Return of the Dread is the brand’s first-ever seasonal release; a Domestic Extra Stout. The beer has six speciality roasted malts coupled with classic pale malt and a good dose of Fuggles hops, making it a dark, black, formidable yet smooth stout, balanced with a pronounced bitterness. The stout features aromas of chocolate, vanilla and liquorice, with a sweet and slightly bitter taste that’s very long in length. Distributed by: Lion 1800 308 388
WOLF OF THE WILLOWS JSP 5.2% ABV The Roman naturalist Pliny the Elder once described hops as wild and untamed. They were named lupus salictarius, Latin for “wolf of the willows”. A tiny brewery out of Melbourne by the same name has rolled out a seasonal release called JSP – Johnny Smoke Porter. Campfire smoke evolves to a smooth, moderate body and earthy hop bitterness, while it finishes with layers of dark chocolate and espresso. Distributed by: Wolf Of The Willows 0409 253 537
YENDA PALE ALE 4.5% ABV Yenda Pale Ale is an Australian-style pale ale with pronounced floral and tropical fruit hop aromas and subtle malt character. The bitterness from the New World hops balances the full-bodied malt flavour, delivering a refreshing, clean finish. The Yenda craft beer range also features a golden ale, IPA, red ale and unfiltered Helles-style lager. Distributed by: CCA 132 653
STONE & WOOD STONE BEER 6.4% ABV The highly-anticipated Stone Beer is brewed by adding wood fired stones to the kettle to create subtle but rich toffee-like flavours. This year’s brew is like a traditional European ale, with an earthy, rich and balanced taste. Showing dark fruits and toasted nuts, the complexity is driven by 11 different malts and Hallertau Hersbrucker hops. It has a caramel flavour that finishes with a dry roasted bitterness. Distributed by: Stone & Wood (02) 6685 5173
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HOUSEMADE CARBONATED COCKTAIL AT THIS MUST BE THE PLACE
Mixers are starting to take centre stage as the category moves towards premium products and craft soda companies begin to come to the fore. So how can you up your mixer game behind the bar? We spoke to those in the non-alcoholic know.
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PREMIUM MIXERS
U
sing a premium mixer when creating mixed drinks and cocktails should be a bit of a no brainer really – any drink is only as good as the quality of its individual parts. Or as Thor Bergquist, bartender and soda enthusiast, points out, the whole thing is going to fall apart. “My business partner, Michael Chiem, has the best quote for this and I always use it – he says you don’t make your own fresh pasta, use fresh basil and grandma’s pasta sauce to then cook your pasta in dirty seawater,” he says. Thankfully, it’s a message that seems to be cutting through the background noise, with the proliferation of brands in the craft and premium sectors introducing new flavours, and pushing the stalwarts to keep on top of their game – it’s a win-win for everyone, including consumers. Bergquist is front and centre of the new wave of mixers. Not only has he been bartending for 12 years, but he and business partner, Chiem, have started a tiny mixer company of their own – kicking off their venture, Pop Soda, by creating a specialist tonic syrup for new distillery on the block, Archie Rose. But it wouldn’t have been possible without the groundwork being laid by other premium brands, leading to an ever incresing range of new flavours and expanded customer awareness. “I think people have really started ordering tonics and mixers by brand as opposed to asking for a tonic, or a ginger, or a cola,” he says. “And it’s expanded from that, people are really getting on board with different styles of mixers.” With the growing customer-driven trend for provenance, it is no surprise that the mixers market has been caught up in the push, along with spirits, beer, food, coffee, and basically everything Australians consume. Tony Burt, the co-founder of East Imperial, believes premium mixers are required to enhance, rather than overpower the spirit in a drink. “The emerging trend of greater focus on heritage, provenance and locally sourced ingredients has influenced the growth in premium mixers,” he says. “Along with this trend is the use of locally sourced botanicals in spirits and mixers that is creating more choices and segmentation along the flavour profiles.” Angela Barnett, marketing and storytelling at Karma Cola, concurs, adding that health concerns are becoming more apparent among savvy consumers. “Premium as a category has grown exponentially as customers care more about what they put into their bodies – even with booze,” she says. That means more people are asking questions about how things are made and they are prepared to pay more for premium products. However, there is more to consider than just where your product ingredients are coming from. As Lewis Kneale, of Little Drippa, points out, bartenders need
to be concerned with the consistency of all of the products going into the cocktail. “Especially when you are dealing with an experiencecd bar manager creating an amazing cocktail, it is important that the correct mixer is used to give consistency when all of the other staff in that venue make that cocktail,” he says. “There is no point in having the most amazing and complex cocktail on the list if only one person on your team can make it.” And, according to Matthew Burr, senior category manager for Schweppes, your customers are going to notice, and it will ultimately affect their opinion of your venue. “When the consumer is paying a premium price for their drink, they have an expectation that the quality will flow right through all of the ingredients,” he says. “Today’s consumer is savvy – they know more about the things they like and want, and have a real desire to explore quality.” And at the end of the day, better quality sells better, says Tomas Vikario, beverage innovation manager with Monin and Perrier. “Bars around the country are proud of their range of premium whisky, tequila, mezcal or even craft beers lately, so I don’t see any reason why premium mixers should be left out,” he says. “They have to understand that good mixers will help them to sell more of the premium spirits.”
INVEST IN YOUR TOOLS While it may seem like an obvious point to make, investing in mixers in the same way that you would
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PREMIUM MIXERS
HEALTH CONCERNS
The trend for creating homemade sodas care of machines like SodaStream has spilled out of the home and behind the bar – in some interesting ways if the plethora of articles about bartenders carbonating pure spirits are anything to go by. While there are commercial versions for carbonating wine et al on the market, the more compact units have popped up behind more than a few small bars – This Must Be The Place in Sydney has a homemade system for carbonating their spritz-heavy menu. The opportunity is obviously ripe for creating unique mixers for cocktails in a cost effective manner. In fact, SodaStream is actively targeting the small bar industry with the SodaStream MIX, which is going to be coming onto the market next year. It has a built in functionality to carbonate any liquid – from pure fruit juice to straight alcohol (and it integrates via Bluetooth with an app on your phone where you can create recipes) and it even recommends what level of carbonation will work best with your chosen liquid. In their own words, the team behind it says that the “SodaStream MIX is fully integrated into the Internet of Things, providing new opportunities for both professional bartenders and sophisticated home users”. According to Laura Wilson, marketing director for SodaStream Australia, it’s all about functionality, and ease of use. “Customisation is at the heart of the SodaStream system, giving small bars endless possibilities for beverage creation,” she says. “From serving sparkling water to preparing mixers and cocktails, it’s the ultimate in versatility.”
invest in quality spirits and good glassware should be a no brainer. “Just as bars invest in their craft spirits, ice programmes, glassware and tools, bars should invest in quality artisan mixers to compete the experience and create the utmost value for the consumer,” says Burt. It also doesn’t hurt to learn the stories behind some of the brands – with the aforementioned
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provenance trend in mind – as some of them have histories as interesting as the spirits they’re mixed with. On the subject of spirits, distillers spend years developing the perfect product so it is hardly fair to go and ruin their work with a below-par mixer – which is often the majority of the drink, it has to be said. “What the on-premise is after is a brand that will allow the consumer to
appreciate the spirit and the whole cocktail experience,” says James Johnstone, FeverTree brand manager. “If they’ve come into your bar and opted for a top-shelf spirit, go the extra mile for them and suggest a fitting mixer, then watch the smile on their face as they take a sip.” On a different tack, Kneale points out that price is an important factor that many bars don’t consider when they are looking to buy – especially when it comes to coffee. “So often I have walked into a venue that has no idea what the cost of the coffee shot is,” he says. “We have
It’s cropping up everywhere, and the traditionally very sugarladen world of mixers is going to be on the hit list for health conscious consumers. “Consumers are now very conscious about what they buy, whether it is free range, organic or even sugar-free,” says Johnstone. “This is helping brands to boom in certain demographics.” Consumers are even cottoning on to the fact that tonic, and many other mixers, are just as high in sugar as traditional soft drinks. “Now they are looking for lower sugar mixers that also enhance the spirits more,” says Burt. “Also with these type of lower sugar, highly elegant mixers the trend we are seeing is toward lower ABV spritzers with Aperol or vermouth.” Burt adds that on a recent visit to the US, he noticed that many of the bars in San Francisco are steeping vermouths with different garnishes – like kaffir limes and kumquats – and so aligning entire spritzer menus with the rotation of the fruit seasons. Something the health conscious will definitely be willing to get behind. Sparkling water, of course, is always a bigger seller with the health conscious – and it certainly doesn’t have to be dull. “Bars are stepping away from sweet brands and looking to offer something more premium with less sugar,” says Vikario. “For cocktails with no alcohol or sugar, Perrier is the perfect replacement for traditional overly sweet sodas, thanks to its complexity and organoleptic balance. Tasteful functional cocktails with health benefits continue to be popular on the menus around the globe.”
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a 95 per cent efficiency rate for saving venues money, and often venues are not reducing their total cost but are using the reduction in cost on their mixers to put in more premium spirits.” It is worth the consideration of doing your sums carefully. The same goes for research. Syrups have been building for a while, with the flexibility and range that allows for plenty of creative expression behind the bar. “Syrups are an essential ingredient in any successful fresh bar program,” says Vikario. “They elevate the flavours of fresh fruit using small amounts of product and resulting in very clean, fresh and consistent tasting cocktails.” Simply pair with a premium sparkling water and you’re good to go.
BUILD IT & THEY WILL COME There are plenty of different theories on how to build a portfolio of anything, be it beer, wine, spirits, etc. However, it is rare that a spirit or another alcoholic beverage would be listed without its brand attached – how often do you read “lager” on a menu with no defining brand name? “As mixers form the basis of many cocktails, the consumer should be interested in what mixers are being used just as they would the spirit,” says Burr. “Having the brand proudly and clearly on display will go a long way to building the portfolio.” Likewise, investigate as many different types of flavours and brands as possible – each will taste different with different spirits. “Look for quality and bottles that will look interesting on your back bar, and get a range across fruit, spice and nuts/ herbs – like basil or cola,” says Barnett. “Gather up a range
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and take them back to the bar and experiment until you find what works.” And don’t be afraid to get really specific on your menu. Bars like Gin Palace in Melbourne offer specific pairings of gins and branded tonics, each with a particular garnish designed to enhance the experience. “It’s really about getting your spirits portfolio right for your consumer target and then matching/enhancing the spirits portfolio with the mixer range,” says Burt. “It is very much about creating the story and choices for your customers.” That said, build your portfolio carefully, look at your customer base and their tastes before making any moves to switch up your range entirely – a variety of price options is always a good idea. “I think bars should look at what will sell,” says Kneale. “There is no point having great products if your customer won’t buy them.”
INNOVATE OR PERISH The Australian bar scene is nothing if not innovative, with great bars twisting mixers in unusual ways. The trend towards the Spanish style G&T has led to an array of amazing mixes with garnish chosen specifically to the gin and the mixer. East Imperial’s Imperial Tonic Water is low in sugar (only seven grams per serve) and has only a trace of citric acid, with bartenders experimenting with rum and tequila tonics and even espresso at Singapore’s East Imperial Gin Jubilee. Coming up on the international scene is also the retro trend of long pink gins (with bitters and East Imperial Burma Tonic). Imperial Dark & Stormy cocktails are
There is an increasing demand from customers to experience something new and unique when they enter a bar, and the new world of craft mixers can open up a whole new flavour field. Pop Soda is working to capture the flavours of traditional cocktails and distil them into soda form. “For the Whisky Jerx Pop Up we looked at the Zombie Cocktail, took those flavours and recreated them in soda form,” says Bergquist. “It worked really well, though it worked better with tequila than the traditional rum.” Vikario notes that handcrafted sodas are becoming more in demand from customers. Not only does it open up the flavour possibilities, with a huge range of syrups paired with premium sparkling water, it also saves a lot of space. “With this kind of mixer you will have your guest rethinking carbonated beverages,” he says. “This is also a good and efficient way to stock different mixers as many bars do not have enough storage space anyway.” While the left of centre team over at StrangeLove have worked hard to make their flavours both challenging and drinkable, to give consumers a unique experience that they will then talk about, according to James Bruce, one of the company’s founders. “In short, boutique and premium brand proliferation is becoming increasingly more prevalent amongst the on-premise mixer subsector owing to a dismantling of incumbent flavour paradigms (via an increasingly sophisticated consumer landscape),” he says. “And a constantly evolving end-user bias towards enhancing favourable peer-perception by way of brand-value identification and transference.” Or as he translates: People are trying new stuff because they are easily bored and – to save time – use brands/products to show other people who (or what) they are. With flavours such as Smoked Cola – “because anything worth doing is worth doing smoked” – and Blood Orange & Chilli – “the next best thing to having real emotions” – there is instant potential for a unique consumer experience. There are even craftier versions of the ubiquitous energy drink mixer available on the market. The most recent entrant is local Australian brand Buderim Ginger, which has recently expanded out of the Sunshine Coast, and taken its classic ginger beer, and added guarana for an extra kick.
PREMIUM MIXERS
CHOOSE WISELY, YOUNG MIXER By Thor Bergquist Get out there and try everything – it will take a while to find a particular mixer for a particular spirit that you like. For us, behind the bar, a blind tasting is so important to eliminate the marketing aspect and the preconceived flavours and associations that we get from it. We did a blind tasting with seven bartenders and the tonics were all mixed with a particular type of gin. Because of that everyone voted a supermarketstyle of tonic as their favourite. It doesn’t mean that it was the best tonic, but it was our favourite for that gin. It was really surprising for us. As a bartender, one of my personal favourite ways to use a mixer in an unexpected way is with a cognac and tonic, which I guess is a little bit left of centre, it’s a really good drink – with a wedge of orange it’s delicious. Bartenders can only sell something that they believe in and that they really love. Find out what your customer wants from a mixer – for example some people like heavy on the quinine in a tonic, some people like them more floral. It’s about finding the best one for that person. We’re developing a Soda Masterclass, so we’re talking about the history of soda, in particular cola and tonic, and about how Prohibition really kind of ties in with sodas. It’s actually really interesting.
also appearing on draught in a few bars, including some in Melbourne. Grant Collins’ team at The Powder Keg serve Sydney's only G&T on tap with Fever-Tree tonic, and 1806 in Melbourne does a cocktail degustation, which kicks off with Aperol, sauvignon blanc, rosewater and Fever-Tree soda water. Longrain in Sydney is serving up A Cherry Bomb using white rum, cranberry juice, Karma Cola and fresh raspberries. While Gingerella is being used as an alternative to the old ‘rum and coke’ – using golden rums, lime and fresh mint. And at Union Electric, in Melbourne, Gingerella features in the Shotgun Highball alongside golden rum, pineapple syrup and lime curacao. Bartenders are also pushing the limits on coffee in cocktails, with plenty of bars using cold drip in Negronis, old school flips, Old Fashioneds, and even coffeeinfused Pina Coladas. Monin syrups are already being used around the country to create artisan sodas for soda-syphons, while Perrier has long benefitted from “sublimation”. Which is simply when a naturally refreshing ingredient (cucumber, ginger, watermelon, mint etc) is combined with Perrier to enhance the essential oils and flavours of the fruit with the bubbles and the minerals. b&c
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BEHIND THE BAR THE PRODUCTS EVERYONE IS TALKING ABOUT THIS MONTH
MONIN LEMON, 1SYRUP GINGER, HONEY A fresh twist on a traditional family favourite, this syrup features a combination of zesty lemon, a warming ginger zing and a delightful honey taste. The three ingredients have always been recognised for their healing properties throughout the ages, making for a knock-out remedy against a myriad of ailments. The nose has a lemon and honey aroma. The initial palate is of a citric yet sweet taste with an undertone of spiciness, which then grows into a fruity flavour. The syrup is best used in toddies, sodas, lemonades, ice teas and cocktails. Distributed by: Stuart Alexander 1800 188 484
SPOTTED 2FORTY TASMANIAN GIN
Named after one of the world’s rarest birds, Forty Spotted is a true Tasmanian sprit. Made with the Tasmanian Mountain Pepper Berry,
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the berry’s unusual characteristics give the spirit a zing without overpowering the gin. The nose is highly aromatic with a fresh grated pepper on a floral bed of herbs and spices, underpinning the juniper notes. The taste consists of rose petals and spicy juniper combined with a dry, clean and fresh spirit. The finish is of lemon peel dryness, warming to a slightly sweet lingering note to complementary herbs and spices. Inspired by the traditional London Dry style, the Forty Spotted is 40% ABV. Distributed by: Forty Spotted orders@fortyspotted.com
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LA QUINTINYE VERMOUTH ROYAL
Inspired by the creator of Versailles’ Kitchen Gardens for King Louis XIV. The range provides a roundness, fullness and intensity through its aromas, which are perfectly balanced with the bitterness of the plants. The Rouge (16.5% ABV) is made from Pineau des Charentes Rouge
and is made with 28 botanicals. The Extra-dry (17% ABV) is made from the Pineau des Charentes Blanc and a selection of 27 plants and spices giving it a dappled gold colour. The Blanc (16% ABV) uses just 18 botanicals along with the Pineau des Charentes Blanc producing a light gold colour. The Rouge goes well with a splash of tonic and an orange twist, while the Extra Dry and the Blanc make for an excellent dry martini. Distributed by: HMH Beverages 0412 610 473
4FAIR GIN
FAIR gin (42% ABV) is the world’s first ethical and sustainable gin. With production based in France, the botanicals used in the gin are macerated for seven days before being distilled just once in a unique and hand-made alambic copper still – the Stupfler. The botanicals are Organic Certified meaning they are grown with no additives, chemicals, pesticides or preservatives. These
include juniper berries, cardamom, coriander, calamus roots and Grains of Paradise. This provides the FAIR Gin with a soft and delicate palate followed by a fresh and strong juniper flavour and a balance of fragrant spices. Distributed by: Noble Spirits info@noblespirits.com.au
LEVI 5ROMANO DISTILLERY
The distillery was built in 1933 in Neive, a village chosen for its proximity to the great vineyards of Piemonte. When their parents passed away, siblings Romano and Lidia Levi took over the distillery, making grappa for over 60 years. Today, it is the only grappa produced through direct-fire distillation. Ingredients such as acacia, ash, chestnut and durmast woods are used in the barrels with each having a different effect on the aroma and flavour. There are five styles available including Riserva Paglierina, Moscato, Camomilla, Riserva Bianca
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and Riserva Ambrata. These spirits range between 40%-45% ABV and have been aged between six months and eight years. Distributed by: Spirit People 0423 142 486
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DOLIN SUEDOIS BITTER LIQUEUR
Swedish doctor Claus Samst used this spirit as an elixir, compiling a manuscript that showed it could heal 46 different diseases. After he passed, Joseph Chavasse decided to market it in 1821 under the name “Suedois Dolin” in memory of Samst. The recipe has remained the same since the 18th century, with the liqueur consisting of myrrh, aloe, gentian, rhubarb, orange and agarics. Drink it as an aperitif for its tickling sensation. Just a few drops in your cocktails and it will bring out the original notes. The 30% ABV also makes for an excellent digestive after a good meal. Distributed by Cerbaco (03) 9646 8022
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7ABSINTHE AUTHENTIQUE
Coming from the Emile Pernot distillery, the Authentique is an absinthe that was developed by Dominique Rousselet, Emile Pernot’s still master. With a clear and lively green colour, the nose contains hints of Pintarlier wormwood combined nicely with anise and fennel. This blend also leads to a wonderfully rounded mouthfeel and balanced taste followed by a refreshing finish. The liqueur develops a bright, whitegreen louche, which is neither too thick nor too thin. Distributed by Cerbaco (03) 9646 8022
DE CANA 25 8FLOR YEAR OLD RUM
Flor de Cana first established this rum over 25 years ago when a selected number of barrels were set aside to slow age and mature. Created with the natural ingredients from Flor de Cana’s own sugar can plantations in the Chichigalpa, Nicaragua, this single
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estate rum is distilled five times and aged in American white oak barrels. With a deep and elegant amber hue, its aroma has hints of vanilla, wood and dark cocoa. The flavours offer further notes of fruit, almond and caramel and a touch of sweetness that lingers in the long buttery finish. Distributed by: Vanguard Luxury Brands 1300 DRINKS
MALT 9STROMA WHISKY LIQUEUR
Hailing from the far North East of Scotland, off the Caithness coast, it takes its name from the Orcadian Isle. Stroma comes from the Norse meaning “island in the stream” which refers to the dangerous currents on the island’s shores. This is reflected in the taste, which is smooth and sweet but packed full of robust and rugged undertones, leaving a warm lingering finish. The nose has a whisky aroma, with a note of toffee and prunes and a hint of sherry in the background. The liqueur is a blend of award winning malt whiskies from Old Pulteney with
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a mix of lighter and more vigorous whiskies. With 35% ABV the Stroma Malt is best served neat over ice. Distributed by: island2island 0403 919 340
10STAR OF BOMBAY
The elegant liquid captured in each bottle of Star of Bombay is achieved by slowly vapour infusing the botanicals. This builds a richer aroma and more intense flavour in the spirit. The gin is comprised of eight botanicals: juniper, coriander, lemon peel, orris, angelica, almonds, liquorice and cassia bark. The higher alcohol strength of 47.5% ABV emphasises the elevated aromatics and helps to underpin the spirit’s overall balance and harmony. While the taste is of an exceptional richness and complexity, it has a smooth lingering finish. Star of Bombay feels more like an aged spirit in the mouth, so much so that it can be drunk neat over ice. b&c Distributed by: Bacardi Limited Brands 200 DRINKS
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Jeremy Sambrooks investigates two often misunderstood beer styles and answers the question – what came first, the porter or the stout?
W
hat is the difference between porter and stout? This is one of the beer-related questions I am asked most often and unfortunately, there is no satisfactory and straightforward answer. Historically, it was porter that came first and stronger versions became known as ‘stout porter’, which later became abbreviated to stout. Over the years, the terms ‘porter’ and ‘stout’ have evolved to include many sub-styles, some of which have significant overlap in strength, colour and flavour. As with any beer style there are no strict rules, but it’s fair to say that porters tend to have less roasted character than stouts. Looking at ingredients, porters tend to get their milder roasted character from chocolate and black patent malts, whereas stouts more commonly use roasted unmalted barley.
PORTER – A BEER OF LONDON Porter’s history is firmly entrenched in London, where it was immensely popular in the 18th and 19th centuries, before the rise of pale ale and lager. The industrialisation of breweries in this period allowed porter to become the world’s first truly mass produced beer and nothing better illustrates the enormous scale of porter brewing than the London Beer Flood of 1814. At the Horse Shoe Brewery – one of many porter breweries in London – a huge vat of porter ruptured, causing over a million litres of beer to burst out into the streets in an enormous wave, killing eight people and
destroying two homes. The brewery was taken to court over the incident, but the disaster was ruled to be an ‘Act of God’. Today the Beer Judge Certification Program (BJCP) separates porter into three sub-styles: brown porter, robust porter and Baltic porter. “When a lot of people look at the dark colour of the beer, they may at first shy away from it, thinking it will be too challenging for their palate,” says Rob Freshwater, senior brewer at Malt Shovel Brewery, which produces the James Squire beers, including a brown porter named Jack of Spades. “However, upon tasting it, they become pleasantly surprised about how drinkable and rewarding it actually is. The challenges of brewing a porter are getting the right balance when blending the various malts used – having a slight roast coffee character in marriage with dark chocolate and caramel flavours. Hops are there to balance the malt complexity and body without providing assertive bitterness or hop character.” Another great Australian-brewed porter is made at The Little Brewing Company in Port Macquarie, NSW, where co-founder, Warwick Little is also the head brewer. “We set out to do an English-style robust porter and I think we succeeded in that,” says Little. “Wicked Elf Porter is our darkest beer to date; it exhibits aromas and flavours of
IF YOU LIKE PORTERS AND STOUTS... YOU MIGHT ALSO LIKE THESE BEERS:
SCHWARZBIER: A dark German lager that balances roasted yet smooth malt flavours with moderate hop bitterness.
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BLACK IPA: A relatively new style that balances the roasted malt flavours of porter and the hoppy aromatics and bitterness of American IPA.
BROWN ALE: Dark ale with light roasted notes and more of a focus on nutty and caramel malt flavours.
BARLEYWINE: The strongest of all beer styles with deep, concentrated malt flavour and similar dark fruit notes to those often found in imperial stouts.
PORTERS & STOUTS
espresso and chocolate, has a luscious mouthfeel and a robust, earthy, dry and bitter finish from the classic English hop varieties. We just love brewing this beer, the only challenge is fitting all the malt into our 12 hectolitre mash tun – it’s the heftiest malt bill of any beer we do.” The strongest porter beers were brewed for export across the North Sea to the Baltic states and fittingly, are called Baltic porters. Often fermented cold with lager yeast, Baltic porters tend to be brown rather than black and are not as roasty or hoppy as their robust cousins, although they are significantly sweeter and more alcoholic.
ORIGINS OF STOUT In the 18th century, porter brewers began referring to their strongest beers as ‘stout porter’. One of these brewers was Guinness of Ireland, who in time, dropped the porter and referred to their beers simply as ‘Single’ and ‘Double Stout’. Today, Guinness produce several different versions of their stout, the most popular being Guinness Draught; a dry, black (though ruby when held to direct light) and relatively light bodied dry stout served with nitrogen for a creamy head. Stout is one of the broadest style categories in the
MALT SHOVEL BREWERY SENIOR BREWER ROB FRESHWATER
BJCP, separated into six sub-styles: dry stout, sweet stout, oatmeal stout, foreign extra stout, American stout and Russian imperial stout. As widely available as Guinness is, it’s good to see local craft breweries making stouts in the dry Irish style and none are doing it better than 4 Pines. “The Stout is one of the beers we brew year-round and like the rest of our core range, we’ve been heavily inspired by the traditional style,” says 4 Pines head brewer, Chris Willcock. “The result is a rich and smooth mouthfeel with minimal astringency from the roasted portion of the grain profile. On draught, we go all out and serve it with nitrogen rather than carbonated. In my opinion there’s no better way to drink it. It’s a fun style to challenge yourself with and the reward of a tight white foam on a juicy pint of chocolate and coffee is worth it.” Another Aussie brewery winning fans with their stout is WA’s Bush Shack Brewery, whose Chocolate Beer is a classic sweet stout – a style also commonly known as milk stout due to the addition of lactose powder. Lactose is unfermentable by brewer’s yeast and provides the beer with extra body, sweetness and sometimes a slight milky flavour. “Our chocolate beer contains no chocolate,” says Danial Wind – brewer and co-owner. “It is a milk stout, deriving its chocolate-like flavours from the roasted malts. Its chocolate taste is reminiscent of ‘Chicos’ jelly babies rather than
SUGGESTED FOOD PAIRINGS With the exception of dry stout – which is really quite a light and refreshing beer – porters and stouts generally aren’t great at cleansing the palate and are better utilised for their ability to complement foods with chocolaty, caramelised and roasted flavours and to provide contrast with sweet and salty dishes. Oysters have had a long association with porter and stout, with their briny flavour and creamy texture contrasting wonderfully with the deep, roasted maltiness of these beers. Try oysters ‘au naturel’ with a squeeze of lemon, matched with a dry stout, a malty brown porter or perhaps a silky oatmeal stout. Alternatively, you can take things up a notch by pairing oysters kilpatrick with a smoked porter. Chargrilled meats are a good match for the caramelised and burnt flavours in porter and stout – just remember to heat your griddle pan to searing hot to concentrate the flavour on the surface of the meat. Dark beers can also add richness and complexity to hearty dishes such as beef ‘n’ stout pie and Irish stew – the same beer used in the dish can be served as a pairing. With their relatively high sweetness and low levels of bitterness, milk stout and Baltic porter pair wonderfully with desserts. They can be used to complement a light and airy chocolate mousse, contrast with a rich fruit pudding or provide the flavour base for a ‘beeramisu’. When it comes to pairing food with imperial stout, you need to think BIG – Stilton cheese, rich chocolate fondant, full fat cheesecake and dark bittersweet chocolate all work well.
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PORTERS & STOUTS
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FUN STOUT FACTS
• Often referred to as ‘a meal in a glass’ Guinness is actually only 4.2%ABV and contains less calories than most pale lagers, wine, orange juice or reduced fat milk. • In 2012, Nigeria overtook the UK to become the world’s largest consumer of Guinness. • The cocktail ‘Black Velvet’ is made by mixing equal amounts of stout and Champagne. • Despite popular belief, there is no hard evidence that stout is good for breastfeeding mothers – the alcohol in beer actually decreases milk supply. • Stout contains antioxidants similar to those found in fruits and vegetables. It can slow down the deposit of cholesterol on artery walls and drinking a pint a day may be as effective as a small dose of asprin for decreasing your risk of heart attack. • 4 Pines Stout is being taken into space! The beer has been tested in zero gravity flights and by the end of 2015, will be loaded into a new, highly-engineered container and ready to board the first commercial flights beyond the stratosphere.
MURRAY'S CRAFT BREWING COMPANY HEAD BREWER GRAEME MAHY
Cadbury Dairy Milk. It has proved very versatile, we have reduced it in a pot with pan juices to create a stunning gravy to go with venison and used it as the flavour base in Beeramisu.” Oatmeal stouts contain a portion of oats in the grist, giving the beer a wonderful, silky mouthfeel. Foreign extra stouts – such as Lion Stout and Brew Boys Ace of
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Spades – combine the dry, roasted character of Irish dry stout with a fuller body, crystal malt sweetness and more alcohol. American stouts – like Sierra Nevada Stout – are similar, but with more hop flavour and aroma, typically from citrusy American hop varieties. While not all stouts are strong, some undoubtedly are and there is no stronger stout – and arguably no bolder beer style – than Russian imperial stout (also known as imperial stout). The first examples were brewed in England for export to Russia and were said to be popular with the Russian imperial court. “There is absolutely nothing insipid about this beer,” says Graeme Mahy, head brewer at Murray’s Brewing Company and the mastermind behind one of
POUR IT OUT
4 PINES HEAD BREWER CHRIS WILLCOCK
Australia’s most revered craft beers – Murray’s Wild Thing Imperial Stout. “Full bodied is an understatement – the massive mouth-filling malt almost overwhelms before the hop bitterness and roast acidity kicks in to clean up the palate.” We could hardly do an article of dark beers without
mentioning Nail Brewing’s Clout Stout; another sensational imperial stout and one of Australia’s most sought after beers. It is brewed just once a year and released in limited quantities in numbered, 750ml Champagne bottles, which retail for around $75. b&c Originally published in Beer & Brewer magazine.
A nonic pint glass is well suited to serving most types of stout and porter, its bulge near the rim helping to capture the dark, roasted malt aromas. When it comes to Baltic porters and imperial stouts, a large brandy snifter is an ideal vessel for swirling, sipping and savouring these heady brews from. Better yet, Spiegelau have teamed up with Left Hand Brewing Co. and Rogue Ales to create a glass specifically for stouts.
DRINK LOCAL TRY THESE EIGHT LOCAL BOTTLED PORTERS AND STOUTS: 1. 2. 3. 4. 5. 6. 7. 8.
James Squire Porter – benchmark brown porter and great session beer Wicked Elf Porter – this robust porter is rich, smooth and complex Redoak Baltic Porter – strong, sweet and dangerous 4 Pines Stout – dry Irish-style stout, smooth and malty with firm bitterness Bush Shack Chocolate Beer – classically sweet and chocolaty milk stout Nail Stout – smooth, flavoursome and full-bodied oatmeal stout Brew Boys Ace of Spades – foreign extra stout with a rich, complex roasted character Murray’s Wild Thing – a big imperial stout with notes of dark chocolate and rummy alcohol
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