Category Archives: Marketing

The BevTest Best Drinks of 2024

In the aftermath of last week, whether you are popping Champagne corks or crying in your beer, one thing is clear—America could use a good drink.

To that end, the intrepid panelists at Beverage Testing Institute have been hard at work these past eleven months tasting through thousands of wines, spirits, and beers to find the very best tasting, most pleasurable libations in the land.

We invite you to share in our discoveries and bring some hard-earned, potable pleasure to your holidays and beyond.

See our complete list here: https://www.tastings.com/Awards/Best-Of-Year-2024-Spirits.aspx

The English Are Coming! And They Are Sparkling

English Sparkling Wine is Having a Moment

Situated just 200 miles northeast of Champagne, the vineyards of southern England are less than two degrees latitude north of the famed French wine region and planted on similar soils. And now with slightly warmer temperatures, this part of England is becoming a hub for high quality wines that are so good, they are beginning to rival some of those produced by their French neighbors.

The visit to Kent and Sussex was to chat with winery employees and learn more about English sparkling and still wines. The verdict: the wines are glorious, the winemakers are really excited about making a bigger splash on the sparkling scene, and momentum within the category is building.

Just since visiting in May, Jackson Family Wines swooped in and announced the hiring of Charlie Holland, the now-former CEO and winemaker at Gusbourne, to produce sparkling wine at a contract facility in Kent. They also announced they are acquiring approximately 26 hectares (64 acres) of vineyard property in Essex. So, the word is spreading quickly now; southwest England is the new frontier for sparkling wine.

Are Brits Drinking British Sparkling?

While in-the-know U.S. wine enthusiasts have been in on the English Sparkling wine secret for a while, even most Brits outside of the wine cognoscenti are just now coming around to the incredible sparkling wines made in their own country.

As Ned Awty, interim chairman of Wine GB, explained, “U.K. consumers are increasingly looking for quality, local, sustainably produced products and U.K. wines fit that bill. Traditional media and social media, coupled with sommeliers, are helping to change attitudes and larger producers also have helped English Sparkling become more mainstream.”

Awty also notes that a new generation of wine consumers is emerging – a group who have grown up vineyards around them see it as normal to visit wineries for tastings and food. “You might call them British Wine Natives,” he says.

Wine Tourism is a Thing Now

As the English wine industry grows, so too does English wine tourism. Wine GB started English Wine Week in 2016 (scheduled for June 15-23, 2024), as a platform for retailers and wineries to heavily promote English wines and cultivate more English wine fans.

After visiting three sparkling houses and one urban London winery in May, I can effervescently report that the wines are excellent and the tasting rooms are full and lively! Here’s a recap:

Gusbourne

With 150 total acres under vine in West Sussex, Surrey and Kent, Gusbourne has been producing world-class traditional method sparkling wines since 2004. Their wines are widely available in the U.S. (imported by Broadbent Selections).

Gusbourne produces 100% estate wines and 100% vintage wines. Their plantings include the classic sparkling grapes: Chardonnay, Pinot Noir and Pinot Meunier.

Gusbourne’s sparkling wines are glorious, offering exquisite fruit balanced with acidity that make the wines come alive on the palate. Their still wines are equally excellent particularly their reserve Chardonnay and rosé of Pinot Noir – a result of warming temperatures that allow Chardonnay and Pinot Noir to fully ripen.

Ridgeview

Ridgeview is one of England’s earliest sparkling houses, harking back to 1995. Mike and Chris Roberts still own it today and their son is the winemaker. Their first bottling in 2000 was named England’s Wine of the Year, and they’ve gone on to serve their 2004 Blanc de Blancs at Queen Elizabeth’s 80^th birthday celebration in 2006! (The Queen served Ridgeview’s Sparkling Rosé to President Obama at Buckingham Palace in 2011.)

Ridgeview produces sparkling wines on a grand scale, making the wines quite accessible, both price-wise and flavor profile-wise to a wide cross section of wine consumers. (Read: they offer a hint more sweetness than others.)

Ridgeview is imported in the U.S. by Banville Merchants, and are some of the more accessible, price-wise, clocking in around $30-$45 (and up).

Rathfinney

As a newcomer to the Sussex area, Rathfinney was founded by Mark and Sarah Driver in 2010. The property is enormous, and the Drivers anticipate soon having 350 acres under vine. Their first 50 acres were planted in 2012, but Rathfinney’s wines aren’t yet exported, so if you visit, bring a bottle or two home!

The Rathfinney Blanc de Blancs was one of the best English sparkling wines of the visit– generous fruit, fine bubbles, exceptional balance.

London Cru

This is London’s first urban winery, opened in 2013. Located in an old gin warehouse in southwest London, they’ve been so successful that they acquired their own vineyard earlier this year. They are making and selling still and sparkling wines from international varietals like Chardonnay and Pinot Noir and native grapes like Bacchus. The wines are getting high marks from British reviewers, and they offer a range of tours and other experiences to engage consumers and get liquid to lips! Trying the 2021 Bacchus was a delight, bright citrus and orchard fruits like peach and apple and zesty acidity, and an approachable lower ABV of 11%

Why So Expensive?

It all boils down to the economics of making wine in England, versus making wine in a place such as Uruguay or Chile, where costs of land, labor, and production are less. While larger-scale brands like Ridgeview can be found for as low as $50 U.S. online, more boutique brands – even in England – retail for prices that equal those of grower Champagne ($60-$70 or more).

How Do They Differ from Champagne?

Other than location there is not much difference from Champagne. English winemakers are using the same three dominant grapes; Pinot Noir, Pinot Meunier and Chardonnay, mostly grown on similar limestone soils, and the majority are making their wines in the Methodé Champenoise, where secondary fermentation happens in the bottle. Both climates are cool and continental, so overall English sparkling wine is a more similar product to Champagne than even Franciacorta or Trentodoc.

And the soil similarities might be the most important aspect, especially for those that believe in terroir. Champagne is built on an outcropping of limestone, which is very porous, offering good drainage, and just the right amount of stress that sets up vines for success. The vineyards of Kent and Sussex are largely set upon nearly identical chalky soils to those in Champagne and with similar climate and the same grapes offer the same benefits.

Tradition may be the biggest differentiator but even revered Champagne houses are plunking down pounds for English vineyards and setting up shop with their own wineries in Kent and Sussex. Champagne Taittinger has put down roots in Kent and Champagne Pommery in Hampshire, west of Sussex.

Bottom line: English sparkling, as well as still wines are worth seeking out, whether from a local retailer, restaurant, or on your own English wine trip.

Cheers!

Corks Versus Screw Caps: Which Is Better?

A recent report from Wine.com that correlated high-quality wines with cork closures got me thinking about corks and screw caps. Since April is Earth Month, it’s a good time to explore natural cork closures versus metal screw caps and answer the burning question: which is less harmful to the environment?

Where Do Corks Come From?

Cork comes from the cork oak and Portugal is home to 34% of them, with another 28% of the world’s cork oaks in neighboring Spain. Growing and harvesting cork is a long-term investment. It takes 25 years for a cork oak to yield its first harvest – and that first harvest nets cork that is not useable for wine or spirit bottles. The earliest that the next harvest can be made: nine years. And that second harvest is still not good enough quality for wine corks. It takes a minimum of 43 years to get the first harvest of cork that can be used for bottle closures!

Harvesting cork is not easy. Harvest happens in June, July and August – and in Alentejo, those months are hot, averaging 89°F. Highly skilled and trained harvest workers are paid €150 per day to carefully carve bark from the trees with a very sharp tool, and take great care to not damage the tree.

Cork is a Super Sustainable Natural Resource

Cork oaks aren’t irrigated and no pesticides or fertilizers are used, making them low-maintenance. Plus, black pigs eat the acorns that fall from cork oaks, so they are an important part of an entire ecosystem.

On top of it all, cork has a negative carbon footprint. Cork forests are great at carbon sequestration, as the trees absorb carbon from the atmosphere, and they are lightweight in transit. In fact, studies have shown that a single wine cork can offset the entire carbon footprint of the glass bottle in which it is put.

Most consumers associate cork with higher-end wines and year upon year cork closures are the preference for wines that earn the highest scores, regardless of price point. The conclusion cited in a APCOR (Portuguese Cork Association) report that “the best decision a novice consumer can make when choosing wine is to purchase a wine sealed with a cork.”

This begs the question of Australian wines, which are known for being mostly under screwcap. But that may be changing, according to APCOR’s Operational Director, Carlos de Jesus. “For three years in a row – from 2017 – to 2019 – use of cork in Australia grew by 33% each year.”

According to de Jesus this can be attributed to three things: the growth of sparkling wines in Australia (which only use cork closures), the younger generation of winemakers who aren’t interested in making the next “$2.99 screwcap Chardonnay,” and the massive importance of the image-obsessed Chinese market on Australian wines until the tariffs of March 2021.

Some Background on Screwcaps

Screw caps do come from factories, but this makes them low cost and consistent. They are made from aluminum and/or tin and plastic, and the metal components can be recycled indefinitely. Amcor, the company that produces the popular Stelvin brand of screw cap, has pledged to make all their packaging components recyclable by 2025.

While natural cork is recyclable, facilities that recycle corks are few and far between. The good news is that cork is biodegradable, so even in a landfill, corks are fairly harmless. Aluminum and plastic screw caps can be recycled, but obviously are not biodegradable.

Of course there is the ease of use when it comes to a screwcap. Sure there is an elegance to using a wine key and allure of popping a cork at dinner or really anytime when sharing wine with friends. But there are also those days when you are traveling for work, TSA took your corkscrew way, and all you want is a glass of wine at the end of a long day. The simple screwcap is your friend on these occasions, as much as learning to open a wine bottle with the heel of your shoe is an entertaining life hack.

But What About Cork Taint?

Cork has long been held as the culprit of cork tainted wines. This common wine flaw is in a chemical reaction of fungi, mold, and lignin reacting with fungicides, insecticides, and hypochlorite, aka bleach, which are collectively known as halophenols. The resulting compound, 2,4,6-Trichloroanisole, or TCA, stays on the cork impacting the smell and taste of the wine. In pronounced examples this will make your wine smell like wet cardboard, musty basement, or wet dog. In milder cases this will result in a wine that smells and tastes muted with the typical fruit characteristics just lacking. Either way, you will always notice as corked wine as the off flavors become more pronounced with time and oxygen.

While TCA is not harmful to ingest, those faulty aromas and flavors can ruin a wine experience. So with time and research, the cork industry has invested heavily in finding ways to minimize and even eliminate the presence of TCA in corks. In fact de Jesus, said, “The sweet irony is that as long as cork has been defeated by TCA, it has now become the best defense against TCA.”

He is referring to processes that have been developed to get rid of TCA in corks. These processes can be expensive, but for wineries and winemakers who make “safe” corks a priority, it’s a good investment.

Alex Sokol Blosser, president of Sokol Blosser Winery in Willamette Valley, Oregon, explained why they use the DIAM™ natural corks on their wines. “It’s natural cork that gets ground up into flakes and then goes through a sort of “decaffeinating” process that removes any TCA. Then the cork is then reassembled into one piece with beeswax, so it’s a win-win!” He notes that since Sokol Blosser started using DIAM corks in 2008, they have not had one corked bottle of wine.

Screw caps also can reduce the possibility of TCA, but as de Jesus said, “Cork is not the only carrier of TCA – it can be present in fruits, vegetables, coffee beans, even plastics – and even, sometimes, screw caps.”

Decisions and Choices

In speaking with winemakers, the preference for cork was unanimous, because of the sustainability. “I prefer using corks over screwcaps because cork is a more sustainable product,” said Marisa Taylor, an independent Napa Valley winemaker.

Ana Diogo, director of winemaking at Artesa in Napa Valley agrees. “Cork closures are my preference because they are sustainable and there is more potential for cellar aging for with wines under cork,” said Diogo. “And as a Portuguese, I have a deep appreciation for cork oaks and how they are a protected and important part of the entire ecosystem where they grow.”

Alex Sokol Blosser, declares, “I hate screw caps. Sustainability has a been a core value and daily practice for us since we were founded more than 50 years ago,” he said. “Do I wish that every single bottle we make was under cork? I do. But we also need to sustain our family-owned winery with sales, so a few of our wines are under screwcap to meet customer demands.”

Indeed, according to winemakers that I spoke with, the only reason that some wines are under screwcap is linked to sales. “Servers like screwcap bottles for wines sold by-the-glass,” said Diogo. “It’s a double-edged sword, because screwcaps are more expensive now and some wineries have to bring in a mobile bottling line to do screwcaps – so do the sales make up for the added expense? It’s hard to know.”

In the end, natural cork is the clear winner for the world from an environmental standpoint. As de Jesus says, “The pop of the cork always carries good news. It signals that a great moment is about to happen!”

Celebrating Lagers for King Gambrinus Day

Today is King Gambrinus’ birthday – and rather than drink an entire cask of beer, as he so cleverly once did to more easily win a barrel lifting contest, let us celebrate this mythological personification of beer culture by paying homage to those dedicating their lives to ensuring historical and traditional beer styles maintain integrity in this very chaotic adult beverage world.

In the current state of craft beer, one that sees vast innovation in contemporary styles like pastry stouts, smoothie-inspired sour beers, and 90’s style Fruited Malt Beverages making a major comeback as seltzers, it is nice to see a slow but steady increase in production and enjoyment of the far less showy Lager. A revert back, if you will, to the complexity that can result from the use of simple ingredients, traditional recipe writing, and the desire for sustainable nourishment. This concept in beer making dates back as far as 4000 B.C. with Ninkasi, the Sumerian goddess of brewing, both as brewer to the gods and provider for the mortals. The cultural significance of traditional beer making extends through European and African prehistory as specific deities, saints, and mythological characters embody the juxtaposition of beer and brewing to agriculture, harvest, and celebration.

Resurgence of Lager in American Craft Beer

The past ten years in American craft beer has seen a significant shift in craft Lager production with Lager-only producers like Hanabi in Napa, CA (established 2020), Bierstadt Lagerhaus in Denver, CO (est. 2016), and Goldfinger in Downers Grove, IL (est. 2020) – whose entire catalogs are devoted to exploring variability in the cold-fermented world – and breweries looking to add dimension to their repertoire. Arguably, these old-world styles tend to be a riskier undertaking due to their delicate nature and susceptibility to showing flaws, higher opportunity costs associated with a longer fermentation period, and lack of hype-driven ingredients such as an excessive hop load, lactose, and fruit flavors that so often ensure sales success.

This increase in both accessibility and availability is as much a function of brewer preference as sustained consumer demand amplified by the sheer number of modern breweries. Yes, brewers want to brew lager beer to reclaim tradition, and most want to educate their consumers on this history, while consumers want to drink a more flavorful variation of a less intimidating beer style. Put simply, people want something akin to a macro-produced adjunct Lager from a small and local brewer. This begs the question: how did craft Lager beer find its footing in a beer culture dominated by easily accessible macro Lagers and buzz-worthy hazy IPAs, pastry stouts, and sour beer?

As more and more breweries open their doors to the public and enter into regional and national distribution, retail becomes bogged down with limited shelf space and infinite options. Therefore, a brand that was once someone’s “go to for the style” now has ten new competitive brands. Brand velocity slows down, beer production lessens, and serendipitously more tank space becomes available for slow Lager fermentation.

In addition to time availability, raw material accessibility will influence what a brewer should and should not brew. With today’s excessive use of new world, aroma driven hops for dry-hopping in the creation of less bitter, juicy, tropical fruit forward and dank IPAs, availability can be scarce and cost prohibitive. European-style Lagers offer an alternative for hop-friendly makers and drinkers who prefer a lighter palate, balanced bitterness, and complexity all while showcasing a more readily available, non-haze-beer-friendly, old world noble hop bill. Rather than pineapple and orange Dreamsicle tasting notes, brews showcase a more earthy palate profile dominated by floral and herbal notes that pair beautifully with the often bready and lightly toasted grain character.

Perhaps most acutely connected with the rise in Lager brewing and drinking – and by far the most encouraging to consider – is the yearning for a Eurocentric beer culture and the old-world nostalgia of a drinking paradigm deeply connected to agriculture and harvest, beer as sustenance, seasonal change, and the celebration thereof. We see it in our stateside fall Oktoberfest festivities celebrating the release of Märzen-inspired, amber-hued Lagers and other offerings as crisp as fall leaves on the ground as well as the seasonal shift to spring bock beer as the weather gradually warms. Lenten lager and other nourishing beer styles like Doppelbock and Maibock later in the season has become as apropos to American craft culture as the Oktoberfest beer is come summer’s end.

If you are looking for some great Lager style beers here are some of the best options that we have recently tasted at BevTest, as well as a few Spring seasonal suggestions from some of our friends.

Dovetail Brewery Chicago, IL

From the brewery: “German, Czech, and Belgian styles. Traditional Methods.”

Dovetail has been showcasing authentic brewing tradition in the Ravenswood neighborhood since 2016 when it first opened its doors. In addition to excellent beer, Dovetail offers an exceedingly comfortable, pub-like tasting room, proper glassware, oversized soft pretzels and landjäger to complement, and a brewhouse that houses a copper holding vessel that was once used in the Weihenstephaner teaching and pilot brewery.

Recommended Seasonal Release: Maibock, 6.3% abv

Brewed every year in January so it gets its minimal three-month fermentation hibernation, this bready lady emerges just in time for the annual “Mayfestiversary” in which Dovetail celebrates both the spring thaw and its birthday.

Goldfinger Brewing Downers Grove, IL

From the brewery: “A revived 19^th century lager beer tradition. Horizontal tanks, natural carbonation, extended lagering, and decoction brewing”

The founders of Goldfinger have beer deep in their blood as they come from a brewing tradition that dates back to the 19^th century in Prague and Poland. No wonder their Grodziskie is so perfectly delicious. As one of two lager-focused breweries to enter the market in 2020, this family-driven producer finds passion in brewing fundamentals and the dependability and simplicity of their thoughtfully produced lager beer.

Recommended Seasonal Release: Zlotonator Dopplebock, 7.66% abv

Doppelbocks were traditionally brewed by German monks for sustenance during times of fasting and this rendition of the style is perfect for such with a fresh baked bread aroma and a rich malt backbone that offers nuances of molasses, raisin, and fig. Complexity increases with each sip as caramelized grain dances with a balancing, earthy hop bitterness and mellow alcohol warmth.

Metropolitan Brewing Chicago, IL

From the brewery: “Brewing German-style lagers in Chicago since 2009”

Metropolitan opened its doors in 2009 as one of the first breweries in Chicago to not only argue the importance of both lagered beer and traditional brewing, but also the need for it in the city. The taproom is large and accommodating and the riverfront patio is perfect for a retreat from the hustle and bustle. This pro-lager culture brewery has even had a hand in producing and reintroducing pre-prohibition stalwart, Conrad Seipp Brewing Company, and has kept this historic brand on retail shelves since 2020.

Recommended Seasonal Release: Dynamo Copper Lager, 5.6% abv

Urban Chestnut Brewing Company Saint Louis, MO

Between a smaller German-inspired taproom and biergarten nestled in amongst the SLU Midtown campus and the much larger production facility and bierhall in the boisterous Grove neighborhood, Urban Chestnut has been inundating Saint Louis beer drinkers with excellent lager beer in Anheuser Busch’s backyard since 2011. In fact, a third location has recently opened in the Hallertau region of Germany near it’s brewmaster’s hometown. No wonder offerings like Zwickel Bavarian lager, Stammtisch German-style pilsner, Dorfbier Munich dunkel, and Freundschaft copper lager are a favorite amongst local imbibers.

Reccomended Seasonal Release: Balkan Germen Helles

Hanabi Brewing Company Napa Valley, CA

For the first time in over 100 years, a craft brewer has the opportunity to put their heads together simultaneously with farmer and maltster, to grow and create something together where decisions can be made throughout the process, literally from planting the seeds in soil, all the way through to serving the beer in the glass.

Recommended Seasonal Beer: 2023 Spring Release

Featuring locally grown grains, malted by Admiral Malting just down the street from the brewery. A true farm to bottle experience every step of the way, and just 9 miles away from where Alice Waters and Chez Panisse began the farm to table movement back in 1971.

A New Time for Amphora Wines to Shine

Amphora wines, which date back thousands of years are being rediscovered and embraced by restaurants, winemakers, and passionate wine drinkers. “Everything old is new again.” says Aldo Zaninotto, Chicago restaurateur and wine expert, and the cycle of wine trends has returned to traditional wine making and native grape varietals.

Amphorae are large clay pots in which wine can be fermented and aged, with modern versions sometimes constructed from concrete. Georgians, the people living on the land along the Black Sea and between Russia and Turkey, are thought to have pioneered winemaking in amphora, also known as qvevri, approximately 8,000 years ago.

Today, winemakers in Georgia, and many other wine regions are carrying on – or re-invigorating — the practice as a way to showcase the purest expression of a wine, and offer wine lovers something new to discover and savor.

Amphorae are slightly oxygen porous containers that can allow tertiary flavors to develop in wines. As these wines age and are exposed to more oxygen in an amphora than in a wood barrel, tannins can be softened, and more intense flavors like mocha, berry compotes and nuts evolve. Because of the added oxygenation, wines aged in amphorae can also be ready to bottle sooner than wines in oak barrels. Plus – no oak means no flavor influences that can come from wood, such as vanilla, coffee, coconut, or dill.

As Zaninotto describes it, “An amphora is a neutral vehicle for the wine. It’s a very natural way to make wines. While winemakers can control and manipulate conditions in stainless steel and oak barrels, there is nothing to hide behind with amphora wines.”

At his Chicago restaurant Testaccio, Zaninotto has dedicated a section of the wine list to amphora wines titled “Ancestrale.” The current list includes wines by Cos in Sicily, Monastero in Lazio and Maradei in Calabria. Having sipped the Cos 2020 “Nero di Lupo” Nero d’Avola recently, I can attest to the silky texture and pure expression of the grape. The wine was like a more sophisticated expression of a young Nero d’Avola, with fine tannins and vivid black and red fruits accented with a subtle undercurrent of fresh earth.

Testaccio’s name even honors the mighty amphora, taking the name from the oldest trading post in Rome, where tradesmen would deposit used amphorae. That spot today is a giant hill composed of shards of those ancient amphorae.

But it’s not just Italy. The Alentejo region in Portugal, comprising 13% of Portugal’s wine production, has been a wine-producing region for more than 4,000 years and has consistently turned out wines fermented and aged in amphorae. There, they have a special word for the clay vessels – talha (pronounced “tall-ya”) and it’s worth noting that to use the word “talha” on the label, the wine must be made within the Alentejo DOC, if made outside of Alentejo the wines are simply called “amphora wine.”

The process for making these wines is simple: the grapes are crushed and then put into the amphorae where fermentation takes place. The amphorae are sometimes “sealed” with a layer of olive oil on top to keep out air, and then covered with an oilcloth cover. The porosity of the clay vessel allows slow, micro-oxygenation, resulting in wines with unique structure. Tannins are integrated resulting in a more silken feel on the palate, and fruit shines through in a purer expression.

Any wine fermented and/or aged in talha in Alentejo must remain in its vessel until Nov. 11 – St. Martin’s Day. Wine producers across Alentejo have even created an entire experience around Amphora Wine Day, with wineries offering first tastes of their talha wines on the first weekend following Nov. 11.

Pedro Ribeiro, general manager of Herdade do Rocim near Cuba, Portugal (an hour south of Évora) originated Amphora Wine Day in 2018 as a way to create new excitement about amphora wines. Today, it’s must-taste tourism for visitors from both near and far. “This region has so much potential to create world-class wines,” said Ribeira. “I want the world to know that Portugal – and The Alentejo – are making wines that can stand shoulder-to-shoulder with great wines from anywhere.”

Herdade do Rocim’s “Fresh from Amphora” line of wines and Amphora Tinto wines are two that are available in the U.S., to meet consumer demand for more natural styles of wine.

Amphora wines can also be found in California (there’s even a winery called Amphora in Healdsburg, using amphorae imported from Italy), Washington (Hoquetus in Walla Walla offers a Cabernet Franc aged in amphora) and Oregon (Beckham Estate Vineyards). Mexico also has embraced the trend, with Casa Pedro Domecq using amphora on several of their wines from the Valle de Guadalupe.

Wondering what makes these wines so interesting with modern producers and consumers spurred a dialog with wine educator, Veronica Hastings, who has been a fan of amphora wines for decades. “I think it’s really cool that so many wines today are being made in the original way from 8,000 years ago,” says Hastings. “I feel that the gentle oxidation that wines have in amphora translate to a silkiness on the palate for whites and rosés and a lushness on the palate for reds. I also perceive a liveliness – an energy, if you will – in amphora wines that makes them fun to drink.”

Retail wine shop owner Melissa Zeman stocks several amphora wines at her Chicago shop, Bottles Up!, noting they skew mostly Old World. “I think it’s important to offer amphora wines to get customers thinking about the winemaking process and teach them a little history,” she says. “The wines are complex, food-friendly, and tell a great story.”

Zeman also sees cross-over with the natural-wine movement. “Many amphora wines check of a lot of the boxes that natural-wine consumers are seeking, from unfined, and unfiltered, to no added sulfites and minimal intervention winemaking.”

As you consider your next wine list or retail shelf, why not seek out and add amphora wines for consideration? The great thing about wine is the endless opportunities to discover something new and delicious!

Liz Barrett is a Beverage Testing Institute wine judge, as well as wine writer, and educator who also blogs for whatsinthatbottle.com

For more information on the contributors check out their social media:

Testaccio @testaccio_chicago

COS @aziendaagricolacos

Herdade do Rocim @herdadedorocim

Casa Pedro Domecq @casadomecq

Bottles Up! @bottles_up_chicago

The Saga of “Poor Man’s Pappy”

And How We Came to Also Love Other Wheated Bourbons

The hype surrounding Weller Bourbon starts with the air of mystique and luxury surrounding Pappy Van Winkle. For those of you haven’t drank much Bourbon or are new to the genre, maybe that bottle of Weller 12 Year Old Bourbon strategically placed in Yellowstone really caught your attention, you can find the story of Pappy Van Winkle all over the internet and in print. To oversimplify the tale starts with an uncommon mashbill, some well-crafted distillate aged in some choice barrels, and a record setting score and validation from the team here at the Beverage Testing Institute (BevTest). Add in a major production move to the Buffalo Trace Distillery mixed with amazing endorsements from celebrity tastemakers like Anthony Bourdain and BOOM, an already exclusive and pricey luxury good, Pappy Van Winkle, essentially starts the secondary market for Bourbon. Following a story line common amongst premium goods, price conscience consumers begin looking for viable alternatives, which leads us to Weller.

Circa the early 2010’s, whiskey personality and writer Fred Minnick announced a secret that most of us insiders had known about for years; since Buffalo Trace became involved with Pappy, Weller has made with the same mashbill, on the same stills, placed in the same barrels, and aged in the same rickhouses as Pappy. Now anyone with a sibling or a twin can tell you that the same upbringing does not yield the same outcomes. And don’t forget that brand principals Julian and Preston Van Winkle still have a lot to say in making Pappy Van Winkle, more than just another Weller variation. An expert taster can clearly tell Pappy and Weller apart, but they would also acknowledge that strong similarities are there.

In addition to BevTest’s famous score of 99 for the Pappy Van Winkle 20 YO in 1997, the 15 YO scored a 98 in 2004, and the 20 YO took home another 99 in 2008—all platinum medals here at BevTest. Also worth repeating here, for those that don’t know, BevTest’s tastings are blind and conducted by a panel of experts, so a consensus opinion of four expert tasters on such a high score is no easy feat and Pappy Van Winkle rightfully sits amongst the pantheon of world-class spirits. Absolutely no slouch and delicious on its own merits, Weller 12, based on BevTest’s blind panels, was a consistent gold medal (90-95 points) winner in 2002, 2006, and 2015.

Approximately 8 or so years ago if you were one of the many people standing in line for hours or paying a 400+% markup for Pappy at a quasi-legal auction, we confidently agree with Mr. Minnick telling us all that the value play was to go out and buy a case of Weller 12 for the price of one bottle of Van Winkle. For those really looking to dial in the flavor, it was even contended that by mixing in Weller 107 to bring up the proof, you could make a “Poor Man’s Pappy.” Frankly, that would probably convince 95% of consumers in a casual tasting, but that’s why places like BevTest have blind tastings with experts on the panels, right? Fast forward to today and the crux of the issue at hand is that Weller is now what Pappy Van Winkle used to be in terms of pricing and scarcity with bottles from the original Stitzel-Weller distillery jumping into the stratosphere of collectible spirits in a league with Macallan 25 and Louis XIII.

Retasting archival bottles and referencing old scores are a wonderful tool for checking in on consistency, and part of the BevTest experience for brands is an invitation to taste a spirit at least once every three years to verify that consistency. So, what were our most recent findings for Weller? True to form the Antique 107, Single Barrel, and Fuller Proof were all gold medal recipients in 2020. The shock was that Weller 12 dropped down to a silver medal, based on both on the blind tasting panel, as well as an editorial tasting that corroborated the panel’s findings using archive samples of Weller 12 and side by side with the rest of the Weller line. A fluke batch perhaps, but we’ve heard similar conclusions from other professionals and aficionados. Maybe the prolific demand is straining supply to use less mature barrels, or maybe newer line extensions and single barrel programs are exhausting the stocks that used to make the previous generation of Weller 12 a “poor man’s” stand in for Pappy.

Is Weller worth the price of admission? These are excellent whiskies and at their suggested retail prices there should be zero hesitation to own, drink, and add the label’s cachet to your back bar (but please don’t hoard). However, if you have to stand in long lines, overpay because of price gouging, or get into bidding wars at auction, the juice is not worth the squeeze. While prices are going up universally, there are still tremendous values in Bourbon to be found. If having a “wheater” is a must, check out Old Elk, Larceny, Old Fitzgerald, Rebel Yell, and of course Maker’s Mark, especially some of the single barrel options and over-proof options of the 46. Not inexpensive but any means, but far less than secondary market prices for Weller or Pappy and widely available on store shelves. Your dollars and your choice, but we advocate for drinking great whiskey over chasing and staring at unopened liquid trophies.

Drinking in A Virtual Reality

The pandemic has put a hard stop to on-premise imbibing (in most places), but that doesn’t mean consumers are any less thirsty. Without the guiding pours of a beverage industry professional, many bon vivants have found themselves floating aimlessly through a sea of bottle shops and grocery stores, too intimidated by the countless choices to make a solid decision, scared to wind up with something that doesn’t suit their palate, and sometimes leaving empty-handed.
Enter their lifesaver: the virtual tasting.

Christopher Quinn owns and runs the much-beloved Beer Temple in Chicago and built the foundation of his now-booming virtual tasting business within a few days of the Illinois shutdown. Quinn says that initially the tastings were a way to have “something lighthearted…a way to decompress and see other people” and they have since grown in composition and popularity in the past ten months (ten centuries?) to the point that inquiries are coming in every day. These virtual events have the capacity to serve consumer needs while simultaneously amplifying brand reach, and Quinn explains that “with the lack of a way for brands to get in front of the end consumer, [virtual tastings] can get engagement [with] more of a long-format discussion.” He believes that this outlet creates an “unprecedented” level of engagement for brands due to the fact that “[consumers] are sitting there for half an hour to an hour or more just listening” and that even in a pre-COVID world, “it’s hard to get that level [of attention].”

Another movement to creating the self-assured sip can be found in Slik Wines: an intersectionally-minded virtual wine education platform co-founded by somm trio Marie Cheslik, Kyla Peal, and Danielle Norris. Slik’s ethos is “making [wine] accessible for everyone,” and Norris reassures that “none of this has to be scary” because “if we are truly doing our job, we are creating comfort” in giving consumers “confidence when [they] go to the store.” The highly-customizable spread of offerings in their tastings bursts wine’s often-austere bubble and opens the world of wine to even the most timid tippler. Cheslik points to their inventive consumer-focused Blind Tasting 101, an exercise previously shrouded in the “serious master somm category” but that has been Slik’d into “a fun drinking game” as virtual education that both relaxes and energizes its participants.

In addition to seeing clients immediately purchase the products their tastings have introduced them to, both Quinn and the Slik team feel that the level of approachable and familiar engagement that exists in the virtual tasting sphere creates a highly-coveted intimate relationship between brand and consumer. “[Consumers] need someone to say ‘this is delicious, you gotta check it out, you’re gonna love it,'” which Cheslik says naturally leads to people going out and saying ” ‘I remember us having that and now I feel comfortable [buying it].'” The sometimes-intimidating atmosphere of a tableside somm (where often the standing professional is literally talking down to the seated self-effacing guest) is hence transformed into a casual, cordial conversation between co-humans that are alike in their potable passion.

If a brand is still on the fence about whether or not to partner up for a virtual tasting, Quinn urges that “now is the time to do it” because it’s still exciting and fresh and has potential to further lay the groundwork to “iterate off of it once we can be in-person.” Additionally, with bars and restaurants closed, holiday celebrations have been relocated to homes, meaning there is a unique chance for brands to incorporate themselves into lasting personal memories with their consumer base. Slik has taken this opportunity to the next level, curating the créme de la créme of a party by partnering with a brand to offer a stellar steal of a New Year’s Eve deal for two (i.e. a magnum of brut reserve Champagne, 50g of caviar plus fixins and two Mother of Pearl spoons, a CONFETTI CANNON, and exclusive access to Zoom festivities that will pop 2020 into oblivion). “We are your freelance sommeliers,” says Cheslik, reiterating that Slik’s role as a “liaison” to enjoying wine “spreads the good word” and creates and educated and confident consumer base. It is through this innovation by industry pros like Quinn, Cheslik, Peal, and Norris that the platform of virtual tasting builds an inviting bridge between brands and consumers, establishing loyalty that will last long after the pandemic is in the past.

Brand Survival in a Pandemic: Why Digital Advertising is the Best Use of Your Marketing Budget

In the unparalleled reality of the global pandemic, alcohol beverage brands must push themselves harder than ever in order to stay afloat. Nielsen estimates that across all alcohol categories, US markets alone must sustain 22% volume growth in off-premise sales “in order to merely level off from the impact of closed bars and restaurants.” To create and continue this necessary momentum, brands are having to innovate quickly, and we spoke with three in particular who feel that their successful swivel into digital marketing has ensured their survival.

Viable Vicissitude

Greg Goodson, Digital Marketing Manager for Virginia Distillery Co., says that “when COVID hit and hit hard, my position became three times as important.” On-premise closures meant furloughing of sales staff and the company needed to make fast changes. Goodson’s collection of previous experience at a digital ad agency, an e-commerce company, and a software startup prepared him to respond quickly, and he prioritized well, stating that “it’s been like a startup” and so “we certainly put more budget towards [digital marketing].” Another producer, Fast Penny Spirits, has been facing similar challenges when launching their flagship Amaricano amaro in July, and Co-Founders Jamie Hunt and Holly Robinson also had to reconfigure their budget to account for “leaning hard” on digital advertising, explaining that their initial planning was structured around spending money with distributors, but that “with the reality of the pandemic, we had to shift to more of a direct-to-consumer pivot” requiring “more advertising dollars to be spent, especially in social media.” Ashleigh Muray, VP of Global e-Commerce for Lyre’s, echoes this duress of “dollars going further” and points out that with many budgets being cut, “you need to be smarter with your money and time,” in this case advising that brands “take traditional concepts and flip them into a digital format to survive.”

Fast Penny Spirits' Flagship "Amaricano"

Fast Penny Spirits’ “Amaricano” launched in July of 2020.

Though these brands have been tackling the tumultuous task of introducing new products to the market in preternatural circumstances, digital advertising has allowed them to benefit from the nebulosity. Hunt and Robinson recognize that “the rules are constantly changing” but they are encouraged by their belief that “right now they’re changing for the better” by becoming “a little less restrictive.” Shifts in distribution laws have allowed, in many cases for the first time, producers to ship directly to consumers, and Goodson says that by using social media messaging to convey this opportunity, it has kept Virginia Distillery Co. “up to our eyeballs in packing boxes.” This new avenue of direct consumer purchasing has also nudged general company modernization with Virginia Distillery Co.’s website becoming “nicely built out” compared to “the way it looked a year ago.” Murray also feels that the heavy reliance on digital marketing has pushed Lyre’s to “be creative and think outside the square.” Due to the halting of in-store tastings, Lyre’s now offers “virtual private mixology Zoom lessons” for all of their customers, creating a more personal experience and a closer connection to buyers. Murray has also learned to quickly shift the relevancy of social media posts, acknowledging that “groups of people together in bars touching and cheersing glasses” is “no longer appropriate imagery.” She says that this has resulted in content that, previously “structured and planned for months in advance,” has now become more “organic” and “in-the-moment.”

“Get a better hold on trends of buyers.” – Greg Goodson, Digital Marketing Manager for Virginia Distillery Co.

Measurable Metrics Mitigate Risk

Though spending money during a global industry crisis may feel daunting, the platforms of digital advertising generate real-time numbers that offer brands the space to swiftly customize to their personal needs. Unable to hold a big launch party, Hunt and Robinson have primarily promoted their Amaricano on Instagram and Facebook to “get our brand, our bottle in front of peoples’ eyes and generate interest,” creating “a basic community to communicate with.” By starting “really small,” and slowly growing their “ad spend” they can attest that through testing out “having [ads] and then not having them,” there was a clear decrease in sales without them. Murray encourages nervous brands that haven’t dipped into social media yet, reassuring them that “it is worth it” as long as they are “prepared to test the waters for a period of time,” further bolstering that “once you uncover what works for your brand, [digital advertising] is a channel absolutely worth playing in.”

A selection of non-alcoholic offerings from Lyre’s.

Goodson gushes over the immense return of investment in ads on Google, Facebook, and Instagram, pointing out that “if we sell a bottle, we can tell where that sale has come from,” which creates infinite tracking abilities: “something we never had access to before the pandemic.” In addition to keying into which platforms have led to the most revenue, sales resulting from digital marketing generate a wealth of consumer information. Though Virginia Distillery Co.’s tasting room (now temporarily closed) offered Goodson the opportunity to eavesdrop on visitors’ conversations, online purchases create a detailed demographic map of confirmed purchasers. An email address leads to opportunities for further promotional reach outs, and the input of birthdays to confirm legal purchasing age creates an age range of who’s buying what, culminating in what Goodson refers to as “fascinating data” that allows brands to put themselves “in the shoes of our customers” to “get a better hold on trends of buyers” and quickly reflect those trends in digital strategies to capture the most sales. In applying her 20+ year experience in agency consulting to a first-time spirits endeavor with Fast Penny, Hunt plugs that “becoming digital is really important” and allows brands to “understand a little bit more, make change a lot quicker, innovate.” Through the data pool created by digital platforms, Hunt and Robinson get “direct” feedback, which they feel “would have been tougher to get through retailers.”

Deliberate Messaging Delivers

To get the most out of the lucrative opportunities presented by digital marketing, brands must sharpen their messaging techniques. Goodson recognizes that “everyone likes free shipping” in the 21st century, but bottles are heavy and additional adult signature fees add up. In response, Virginia Distillery Co. broadcasts dollar shipping rates for sales of two bottles or more, simultaneously offsetting packaging costs and elevating sales because “our customers’ shopping carts are a little more full.” As a non-alcoholic brand, Lyre’s requires very “obvious” communication in its messaging, and Murray finds that ads featuring recipes for “cocktails, cocktails, cocktails” have been successful in guiding consumers to bundle their purchases.

“Courage & Conviction,” Virginia Distillery Co.’s new American Single Malt Whisky.

Due to the widespread shift towards digital marketing, brands must additionally promote measurable achievements in order to stand out. Murray advocates for the inclusion of “award wins” and “sharing reviews/testimonials” to capture consumer attention on social media platforms. Goodson also swears by validated quality claims, explaining that when a consumer searches, for example, Virginia Distillery Co.’s Courage & Conviction American Single Malt Whisky, “the product description has good ratings and awards we’ve received” which “certainly helps.” He further stresses the value of award display as “another opportunity to up-sell,” reassuring the consumer that their hard-earned money is well-spent when they know that what they’re buying has received verifiable acclaim.

“Once you uncover what works for you brand, [digital advertising] is a channel absolutely worth playing in.” – Ashleigh Murray, VP of Global eCommerce for Lyre’s

Brand-building in a pandemic may come in its own set of previously unheard-of challenges, but with conscious spin, precise assessment, and intentional articulation, the calculated use of digital marketing has the potential to elevate the beverage industry to new horizons of success.

For more information about using your BevTest Award in digital advertising contact Diana@bevtest.com to learn about licensing options.

Market/ing Research in Reach

Beverage Testing Institute’s panel of spirits industry experts presented an American Distilling Institute 2020 Conference seminar about the simple and sophisticated market research tools available to craft brands. Featuring:

Monique Huston, Vice President of Wholesale Spirits for Winebow
Lee Zaremba, Corporate Beverage Director fof Boka restaurant group
Chuck Lyle, Director of Marketing and Innovation at Green River Spirits Company (Formerly Terressentia Corporation)
Jerald O’Kennard, Executive Director of Beverage Testing Institute
Laura Kruming-Berg, Associate Director of Beverage Testing Institute

Labeled for Failure: 3 Obstacles to Successful Packaging (and Their Solutions)

“We’ve seen some people start to feel that maybe packaging is not as important and I would make the argument that it’s more important than ever.” – David Schuemann, Owner/Creative Principal of CF Napa Brand Design

It is widely known that the alcohol beverage market is saturated with offerings, and the clamor for coveted space in consumers’ shopping carts is only becoming more competitive. BevTest spoke with brand design firms from coast to coast that vehemently assert that the foundation of a brand’s success, as well as its failure, lies in its packaging. Though these authorities forecast imminent collapse for brands that don’t invest in professional design, that blend in with the crowd, and that rush through fine details in development, they have also shared their keen insights on forward-thinking strategies that, if heeded, both establish and secure the modern consumer’s attention.

1. Don’t Be Cheap

According to our design experts, one of the biggest mistakes a brand can make is not allocating room in the budget for packaging development. David Schuemann, Owner and Creative Principal of CF Napa Brand Design, says that “we’ve seen some people start to feel that maybe packaging is not as important and I would make the argument that it’s more important than ever.” Kevin Shaw, Owner of design firm Stranger & Stranger, points out that “you have to get inside your customer’s head” in order to avoid “designing for yourself.” According to Scout Driscoll, Founder and CEO of wine branding and design firm VINT, another pitfall is “having your friends design a label.” Driscoll urges even smaller producers to invest in a professional designer because “if you don’t sell it, if people aren’t buying it, you’re going out of business.” Nicole Flores and Kat Karpati, Creative and Executive Directors at Hatch Design, say that many brands they’ve worked with start with in-house design, but that then, eventually, “a few years down the road, they’ll come to us to help them get to the next level.”

Schuemann understands that a lot of producers are “bootstrapping it,” but pushes that investing in professional designers is essential because, initially, “what [you’re] selling is the packaging more than the product itself.” Most design firms have tiered pricing in order to offer solutions for a range of budgets, and “given that distributors are not just out there pounding the pavement,” Schuemann justifies the metrics for successful packaging as being delivered in “clean numbers” when sales jump. When working with designers, Driscoll encourages brands to “make your marketing choices with your head and not your gut.” For those smaller producers that are tentative about affording a designer, she notes that “if they have one beautiful label design that’s locked in and recognizable” they can modify that slightly across the numerous offerings within the brand, a solution that’s “much more affordable than doing a custom design for every single [product] they offer.” Having outside eyes on a packaging project can also create a better idea of not just who a brand is but “what they want to be,” and Flores and Karpati feels this emboldens producers to “see the forest through the trees.”

“If you don’t sell it, if people aren’t buying it, you’re going out of business.” Scout Driscoll, Founder and CEO of wine branding and design firm VINT

2. Don’t Be Boring

A common challenge faced when launching a product in an overflowing category is making your brand stand out while maintaining recognizable characteristics. Driscoll acknowledges that “there’s certainly a long legacy of aesthetics that are tied to certain styles of wine” and that you want your brand’s packaging to “trigger those feelings” while still “pushing the envelope,” further pressing that “when people don’t differentiate, when they copy or try to follow in the footsteps of their biggest competitor, it’s a huge mistake because they’re not identifying what makes their brand unique.” Schuemann echoes warnings against this, giving the example of a client that was in the “saturated sector” of vodka, describing that it had a “fairly decent following” but “terrible packaging” that was not lined up with the quality of the product, and therefore did not stand out on shelves already jostling with clear offerings. Shaw agrees that packaging shouldn’t just fall in line with that of the others in its category; he “cuts to the chase” and asks, if on a long row of similar products, “why should anyone care about [your brand]?” Shaw adds that in ensuring your product stands out, “yearly trends are never to be followed” for many reasons, but essentially because “it can take two years for a brand to make it from briefing to shelf stocking and will look out of date before it’s even launched.” Flores and Karpati further surmise that with every trend comes a “backswing.”

There are many solutions to making sure a brand doesn’t fall into what Shaw refers to as an “existential wormhole.” Driscoll attests that “all consumers truly crave an authentic brand,” and just need “something they can connect with that’s rooted in a very clear story.” Schuemann calls this the “brand essence,” the “heart and soul of the brand,” and encourages the development of a story around which to “wrap the packaging” to help express it, a process his firm took with the redesign of the aforementioned vodka which has since “completely taken off.” Flores and Karpati urge brands to be “provocative” with their packaging because many consumers have chosen their go-to products and therefore need “inspired desire” to be “provoked” into a new promised experience. In taking the risk of pushing forwards provocatively, Shaw reassures that “polarization is good,” and that it’s okay if “[some] people don’t like you” as long as “some people love you.”

“Why should anyone care about [your brand]?” – Kevin Shaw, Owner of design firm Stranger & Stranger

3. Don’t Rush & Gloss – Brush & Polish

Even after carefully examining the many facets of packaging that reflect a brand’s identity, things can still fall through the cracks. Schuemann often sees a lack of attention given to functionality and finds it “amazing” that so many products wind up with “bubbles and rips and tears and labels that go on crooked and just don’t look very good” as well as the headache of “[bottle] shapes that couldn’t hold the screenprinting or label,” leaving producers with “thousands of bottles they can’t use” and expensive delays that butt up against launch dates. Though it should be obvious, he also urges that brands ensure their labels are TTB compliant and to be aware of possible trademark infringement, warning that “you kinda get what you pay for” when “there are a lot of online design resources…that are just copying things they’ve seen” which can result in “lawsuits that will cost hundreds of thousands of dollars down the road.”

When running over your packaging with a fine-tooth comb, consider that the specific patterns of the current market are instrumental to your brand’s prosperity. We don’t need to be reminded that we are living in a world in which social media is a heavily relied-upon platform, and Driscoll counsels that “it’s really important that your packaging design be recognizable on a tiny phone” because “your label, for the most part with people buying online, is going to be a centimeter tall” so it’s crucial that your brand is “differentiated at a glance.” Driscoll cautions that “if you’re not saying something distinct” that can be interpreted “in the blink of an eye,” then “you’ve really not done your product justice.” Once purchased, Flores and Karpati carry the importance of stressing instantaneous brand identification into the modern era of “grab and go, single-serve” products. As opposed to the time consumers spend with a “gallon of milk or orange juice that sits in [the] fridge” for a number of days, consumers are spending mere minutes to hours with single serving beverages, which means that your brand’s packaging has a limited amount of time in which to convey its story and offerings. An additional way to secure what Shaw refers to as “well-designed products that over-deliver on the shelf” that simultaneously “deliver clear stories on screen,” both Driscoll and Schuemann avidly emphasize the display or awards and tasting notes. “When you’re selling online you have a consumer that can’t pick [your product] up, can’t touch it and feel it and certainly can’t taste it,’ which Schuemann acknowledges makes it “that much harder” to describe the “intrinsic value.” Driscoll finds the solution in “including a tasting profile” in addition to any awards in order to drive home “what really makes [your product] special.”

With almost 40 years of experience with thousands of brands, BevTest can confirm that problematic planning yields problematic packaging, and that corner-cutting, monotonous, and thoughtless products do not succeed. BevTest’s Associate Director, Laura Kruming-Berg, further stresses the lessons offered by these expert designers, concluding that “this is not just marketing speak from design firms seeking new clients,” nor “tactics for big budget brands,” but rather “non-negotiable rules for brands of all sizes.”