The engineer-turned-distiller talks yeast, ‘craft’ and the challenges of working with rye.
‘What does English whisky taste like?’
I’m taken aback. We both look down at the bottle of Cotswolds single malt I’ve just handed over as a gift. ‘Well…’ I’m tempted to tell them to crack open the bottle and find out for themselves, but that might seem unhelpful.
I opt for a different cop-out: replying to one question with another (always good when you don’t know the answer): ‘What does Scotch whisky taste like?’ Quizzical look. ‘No, think about it. You like Lagavulin. You like Glengoyne. They don’t have much in common, but would you say they both “taste like” Scotch whisky?’
When we don’t know much about something, easy definitions and pigeon-holes are tempting, reassuring even. To whisky newcomers, Islay = peat and Speyside = fruit are comforting equations. As the journey progresses, their limitations become all too apparent.
With English whisky, everyone’s at the start of that journey. St George’s and Hicks & Healey have been distilling for well over a decade now, but they are the outliers, the pioneers. Now, with 20-plus distilleries making whisky from Yorkshire to the Isle of Wight, critical mass beckons.
After talking to a number of English distillers in recent months, I’m no nearer to answering the question – and neither are they. Then again, how many of them set out to create something ‘English’ in the first place? And how would they even begin to define that?
Whisky landscape: Cotswolds aims to make a spirit that reflects the distillery’s surroundings
Some appear to be following the Scottish template quite closely: St George’s, with its Forsyths pots; The Lakes, led by the likes of Paul Currie (son of Arran founder Harold Currie) and ex-Diageo production director Dr Alan Rutherford OBE; Cotswolds, where founder Dan Szor was inspired by the resurrection of Bruichladdich.
But St George’s does peated, triple-distilled and a range of grains that uses rye, oats, wheat, unmalted barley, and chocolate and crystal malts; The Lakes, while overtly ‘Scottish’ in its approach, has released two hybrid whiskies, The One and Steel Bonnets; Szor wants the Cotswolds spirit to echo its ‘gentle, beautiful’ landscape, and the cereals and fruits that grow there.
In Kent, Copper Rivet has drawn up its ‘Invicta Charter’ as a starting-point for a discussion about common standards for English whisky – but not as a restraint on flavour creation, as its two contrasting new make spirit styles show.
In Southwold on the Suffolk coast, Adnams uses brewer’s yeast and a Christian Carl ‘beer stripping column’ to produce its high-abv wash; The Oxford Artisan Distillery (TOAD) has manually-operated stills, employs an archaeobotanist to source ancient grains and isn’t scared to release a pure rye spirit at an obscenely young age – because it tastes good.
Traditional template: The Lakes is close to Scotland geographically and in whisky terms
The Lakes sold its first bottle of single malt at auction for a record £7,900, and is laying down stock for an aged range up to 25 years old; meanwhile, Cotswolds’ first release was priced at £45 a bottle.
Can you see a common thread here? No, neither can I.
These are people forging a new path, learning and borrowing from what has gone before, but refusing to be enslaved by it, and certainly not scared of voicing their own opinions.
To Szor, most Scottish distilleries are now mere ‘manufacturing plants for a global brand’ (whether that’s a criticism or not depends on your viewpoint), while Copper Rivet distiller Abhi Banik decries the misuse of the word ‘solera’ by some Scottish distillers, and was shocked to see the artificial ‘seasoning’ process that most Sherry casks go through prior to their use for maturing whisky.
When Szor thinks about whisky, he comes back to the individuals watching over the stills, not their postal addresses: Ichiro Akuto, Patrick Zuidam, Matt Hofmann: ‘I think of individual distilleries and the people behind them, and what their aspirations and ambitions are,’ he says. ‘Those personalities will come through.’
If anything unites the emerging generation of English whisky distillers, it is the healthy determination of each of them to follow their own path, create their own philosophy, rather than the fact that they all happen to be located in the same country.
‘What is English whisky?’ Apart from being unanswerable, the question’s irrelevant.
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