The 23-year-old Islay malt was filled into cask at a difficult time for the distillery.
The next time you feel like moaning about ‘health and safety gone mad’, think about the old pot ale tank at Glen Elgin distillery. Made from 6ft by 3ft sections of cast-iron, it blew apart one night, sending one of the panels 30 metres across the yard. ‘It would have taken your head off,’ Ed Dodson says.
As anyone who’s read the recent feature outlining the 20-year-old story of the resurrection of Ardbeg will know, Dodson was the whisky veteran sent in to patch up the Islay distillery and get it up and running again following its acquisition by Glenmorangie in 1997.
The hard part about writing this type of article – and keeping it to a vaguely sensible length – is not so much knowing what to include, but what to leave out. And, even then, there’s that nagging feeling that some of the best stuff has ended up on the cutting-room floor.
Hence the Glen Elgin story (Ardbeg’s old heating tank for the mash was cast-iron, and was an early casualty of the Glenmorangie takeover) – not to mention the time in April 1997 when blue asbestos was discovered in Ardbeg’s roof, leading to a temporary shutdown.
Trial and error: How did Ardbeg’s spirit arrive at its combination of fruit and smoke?
Dodson was clearly fascinated by the Ardbeg spirit character – had been since the 1970s during his ‘Islay period’ of single malt drinking. ‘I’d never been there, but it didn’t make sense to me,’ he recalls. ‘I always thought Laphroaig and Lagavulin were really heavy compared to Ardbeg. But it wasn’t until I began to nose the new make spirit [in June 1997] that I thought: “This is why.”’
But where does that quintessential Ardbeg character – the lush fruit keeping the smoke in check – come from? Dodson has a sacrilegious hypothesis: ‘My theory – which didn’t go down well with the marketing department – was that, when they were starting up Ardbeg, the whisky was probably crap, so they decided to put an angle on the lyne arm.
‘And it was probably still no good, so they put in the purifier, collecting any liquid and directing it back into the body of the still, allowing it to run back down, but not stopping the vapours from heading up the still.
‘It’s serendipity. A lot of the things that have happened in the Scotch whisky industry came about by accident.’
Serendipity, yes, but also the willingness to make mistakes and the good sense to learn from them, to improve, hone, tinker to get the best possible result out of the raw materials and equipment at your disposal.
Distilleries, it seems, have an almost human character, full of temperament and idiosyncratic traits that defy scientific analysis. Dodson had thought that he’d be able to get 1.3m litres of pure alcohol a year out of Ardbeg – until he faced the challenge of working with a spirit still that’s almost as big as the wash still. ‘I could only get to the 1.1m-litre mark because of the need to get a balanced distillation,’ he says.
On the night that the first spirit ran from the stills again at Ardbeg, the plan was to bring the wash still in slowly and gently. ‘That won’t work,’ said Duncan Logan, 35-year Ardbeg veteran and, despite no longer working there, an invaluable source of advice to Dodson at that time. ‘You have to let it come in, then slow it down afterwards. If you shut the steam off, you’ll lose it.’ Logan was ignored – but not for long.
At Ardbeg, the talk now is not of survival, but expansion. That brings its own challenges and potential pitfalls. Intervening in the serendipitous evolutionary process that has made Ardbeg Ardbeg over a period of more than two centuries is something that has to be done with care and sensitivity.
But Ardbeg is a distillery, not a museum. And if a distillery is like a person, then change is part of what makes you realise you’re still alive. What will the serendipitous discoveries of tomorrow be? It’ll be fun finding out.
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