Danish creativity reminds Dave Broom that the course of whisky innovation never has run smooth.
So there we were having dinner. Shellfish to be precise. It seemed the right time to reach for a bottle of Muscadet. Stay with me. It was from Chéreau-Carré (their Comte Leloup top be precise, available from the Wine Society), had some age, had spent some time sucking up depth and richness from lazing around on its lees and was wonderful. ‘Muscadet, all my troubles seemed so far away,’ I began to sing.
Muscadet, eh? In a previous life in a previous century I used to sell wine and for a period Muscadet was the style to go for. Fresh, with racy mineral qualities, and clean acidity it was reliable, the bottle you’d choose for an aperitif, a picnic, a seafood dinner. Slowly the ox cart of popularity began to creak and rumble. As its popularity elided into ubiquity so the wine became thinner, meaner, pricier until we all moved away seduced by the allure of New Zealand Sauvignon Blanc or somesuch. Muscadet? So last year, then so last decade.
Staying true: Whisky innovation shouldn’t have to mean radical shifts in a brand’s DNA
It’s an example of how as a species we demand constant stimulation. We are by nature fickle, reluctant to stick with the same thing so that even if Muscadet had retained its overall quality we’d still have slowly drifted apart, leaving it like a half-recalled, once best friend from schooldays.
This is why producers have to find new ways of keeping their offer exciting. One of the roots of innovation is this need to keep things fresh, while retaining some identifying signature. It’s new, but simultaneously reassuring. That reassurance is important as it shows you, the drinker, that things have not moved so far that the elements which made you love the whisky/wine/beer in the first place have not been lost, they’ve just been moved forward gently.
Which brings the recent Mortlach... er… retrenchment to light. It’s not often that a major firm puts its hands up and says, ‘OK, we screwed up,’ which is effectively what has happened. They tried, they overreached, they admitted they were wrong and went back to what made the whisky special in the first place. Better to be honest and suffer the inevitable, if short-term, cries of ‘Told you!’ than trying some ham-fisted misdirection. ‘New Mortlach? No, nothing’s changed.’ Sadly, no-one else seems to be following in their footsteps.
Innovation is a tricky balancing act and one which can too easily tip into a blind panic where short term fixes take over. People like gin, but don’t like juniper? No bother, we’ll make it fruity… and pink. They don’t like the taste of whisky? Fine, we’ll filter that nasty taste out. People like Tequila? OK, let’s make an agave/malt mashup (I’m not against using Tequila casks by the way if they add to quality and don’t overpower the character of the whisky).
Honest mistake: Diageo relaunched its Mortlach range after admitting its previous series failed to hit the mark with fans
Throwing ideas around in a blind panic is the equivalent of trying to play darts in a crowded pub while blindfolded and stoked up on a mix of Red Bull and Buckfast. Just because an idea is new doesn’t mean it is good. Often a tweak is required, rather than a radical shift.
Equally, trying to be all things to all drinkers isn’t the answer. Rather, it shows a lack of confidence in the flavours which built your reputation in the first place. Single malt, as I’ve said on numerous occasions, is about individuality, the fact that this distillery makes something substantially different to its neighbour. These are the flavour boundaries along which you can play but, I’d argue, you cannot break. Sadly, too many malts are forgetting that.
Sticking to the DNA of the whisky may seem boring, but it is substantially harder to quietly get better at what makes you special in the first place, finding the flavour links, the nuances and subtleties, rather than swinging from one extreme to the other on a fraying rope of credibility.
And you know what? Sometimes making these small, incremental shifts works just as well. Monsieur Chéreau has looked at what his vineyard can give and how to maximise that expressiveness rather than rushing around trying to find a space for it on the next bandwagon leaving Nantes. He stuck to what he knew and continued to make it better. There’s a lesson there methinks.
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