It has been an exceptional few weeks for FINE+RARE events. From Hong Kong to London, Milan to the Scottish Highlands, this run of extraordinary occasions – each distinct in character – has been united by the thread that runs through everything we do: bringing people closer to the world's most exceptional wines and spirits in settings that do them justice. Tiberio Dinner Table by Sandy Keung, Hong Kong — Wednesday 21 May The run began with one of the most eye-opening evenings of recent weeks, centred on the wines of Tiberio, the Abruzzo estate whose commitment to a no-oak philosophy — for both fermentation and ageing, with the sole exception of Archivio — continues to challenge assumptions about what Italian wine can achieve without the influence of wood. The evening opened with three vintages of Fonte Canale: 2016, 2018 and 2023. The 2023 drew immediate attention — many guests found it hard to believe that a wine of such depth and power had not seen any oak influence whatsoever. Vibrant acidity and a clear capacity for long-term ageing were immediately apparent. The 2016, with more time in bottle, had moved into more evolved territory, displaying nutty and dried fruit notes while retaining impressive freshness. The 2018 proved a wonderful companion to the mixed clam dish, its texture and salinity enhancing the natural sweetness of the seafood. Among the whites, the standout for many was the Quarmari 2023 — exceptionally aromatic, revealing layers of beeswax, jasmine, caramel, lemon cream, basil and sweet spice. It was universally appreciated around the table, with some guests going so far as to compare its quality and presence to Corton-Charlemagne. The reds were equally compelling. Four vintages of Colle Vota — 2014, 2018, 2019 and 2021 — demonstrated remarkable depth and character across the board. Full-bodied and structured, with pronounced notes of dark fruits, liquorice, cedar, cinnamon and spice, the 2018 and 2021 in particular showed great power and concentration, their style subtly reminiscent, for some guests, of Château de Tours from Rayas. Paired with the lamb neck course, these wines were in their element. What surprised many most was that, despite their weight and complexity, not one had been aged in oak — a testament to the intrinsic power and expression of old vines. The inaugural 2014 vintage of Colle Vota was a particularly memorable moment. Despite showing early tertiary notes, it retained excellent fruit, freshness and structure, offering a compelling demonstration of the outstanding ageing potential these old-vine wines possess. It was an evening that left a very strong impression on everyone present, and a powerful reminder that great winemaking is, above all, about the vine and the land. Update by Jonathan Leung, Sales Manager, Hong Kong Castello di Ama — Vigneto Bellavista Vertical Dinner The River Café, London — Thursday 18 June One of the most memorable evenings of the year so far took place at The River Café, where proprietor Lorenza Sebasti guided a remarkable retrospective of Castello di Ama's Bellavista — the estate's defining wine, drawn from one of the highest and most historic sites in Gaiole in Chianti. Presented across nine vintages spanning more than three decades, from 1990 through to the newly released 2022, the dinner offered a rare opportunity to explore both the evolution and the extraordinary consistency of one of Tuscany's great wines. The oldest vintages were deeply impressive. The 1990, 1995, 2004 and 2006 demonstrated that great Chianti Classico belongs among the world's most ageworthy wines, maintaining freshness, detail and vivacity decades after harvest. For many around the table, however, the greatest surprise came from the 2011 — universally praised and the favourite of numerous guests — which has now entered an ideal drinking window, combining maturity, complexity and harmony in a way that rewards the patience Bellavista has always asked of its admirers. Among the younger vintages, the 2018 impressed for its purity and transparency, while the 2021 and 2022 elevated the conversation further. Both displayed remarkable polish, power and refinement alongside the freshness that has become an increasingly important hallmark of the site. It was the 2022 Bellavista that generated the greatest excitement. Awarded a perfect 100-point score by Antonio Galloni, the wine was the subject of considerable discussion throughout the evening, though the consensus was clear: the score tells only a small part of the story. What made the 2022 so fascinating was what it represents — a convergence of decades of technical progress, viticultural understanding and winemaking refinement in a single wine. It possessed concentration and potency, but delivered these with remarkable elegance, precision and energy. More than any previous vintage tasted, it felt like a blueprint for the future of the estate. Throughout the evening, Lorenza and Arturo offered invaluable personal reflections on the evolution of Castello di Ama, transforming the dinner from a vertical tasting into a living history of one of Italy's great estates. The River Café, with its understated elegance and deep connection to Italian cuisine, proved the perfect setting. The main takeaway was a simple truth: Bellavista is one of Italy's great wines, and only growing in stature and completeness. Across more than thirty years, through changing vintages and shifting climates, it has maintained a consistency of purpose and identity that very few wines anywhere in the world can match. Update by Dara de Lacy, Senior Sales Manager, UK EAWCO Rarities Selection — Bowmore & Springbank Masterclass FINE+RARE HQ, London A masterclass that set the bar high from the very first pour. We were delighted to welcome Christian Leusder, founder and owner of East Asia Whisky Company, to FINE+RARE headquarters for an evening dedicated to some of the rarest independent bottlings in existence. East Asia Whisky Company has been a longstanding and deeply valued partner of FINE+RARE. An exclusive independent bottler built on principles of understatement, exclusivity and meticulous attention to detail, EAWCO's portfolio spans blue-chip distilleries including Macallan, Bowmore, Springbank, Chichibu and Caroni. They remain the only independent bottler to have released multiple successful Mizunara cask bottlings from these houses — releases that have, remarkably, achieved higher prices than the original distillery bottlings of the same vintages. Christian guided guests through the history of the company before leading a tutored exploration of five extraordinarily rare expressions from Bowmore and Springbank: Bowmore PX Mizunara, 31 Year Old Bowmore Japan Edition, 30 Year Old Springbank Lumen Refill Sherry, 30 Year Old Springbank Yokai Series Asanoha Dragon, 24 Year Old Springbank Yokai Series Yurei (Ghost) Cat, 25 Year Old With a few surprises woven in along the way, the evening was a genuine privilege — one of those rare tastings where every bottle opened carries real weight and significance. For those who were unable to attend, a small number of these bottlings remain available, though given how few exist, they are being offered very selectively. All come very highly recommended. Update by Morgan Richards, Senior Account Manager An Extraordinary Journey Through Bordeaux's Greatest Estates Trattoria de La Trebia, Milan — Tuesday 23 June In Milan, an evening of extraordinary ambition brought together a side-by-side exploration of the 2012 and 2014 vintages through Bordeaux's most celebrated First Growth estates and the legendary Petrus. Far more than a tasting, this was a rare opportunity for guests to compare the expression of each château across two very different vintages — discovering how terroir, philosophy and vintage character shape wines that stand among the finest ever produced. The lineup was nothing short of remarkable. Across both vintages, guests tasted Château Margaux, Château Cheval Blanc, Château Haut-Brion, Petrus, Château Lafite Rothschild, Château Mouton Rothschild and Château La Mission Haut-Brion — fourteen wines in all, representing the very pinnacle of Bordeaux winemaking. The tasting was complemented by an exclusive five-course menu designed by the culinary team at Trattoria de La Trebia, crafted to enhance and showcase each wine served throughout the evening. If one wine captured the room above all others, it was the Château Haut-Brion 2012. Explosive from the first moment, with blackcurrant, smoke and herbs, it simply grew in the glass — every passing minute revealing more power, richness and intensity. Full-bodied, multi-layered and framed by wonderfully chewy tannins, this is a wine of real charm: approachable now yet built to last another twenty years with ease. A blend of 65.5% Merlot, 32.5% Cabernet Sauvignon and 2% Cabernet Franc, it offers extraordinary quality for its level — the kind of Haut-Brion that gives joy from the very first sip. Not to be missed. The Château Margaux 2012 also showed beautifully, drawing considerable admiration from guests throughout the evening. Designed for collectors, enthusiasts and connoisseurs alike, the dinner brought together extraordinary wines, great conversation and a shared passion for excellence — everything a FINE+RARE evening in Italy should be. Update by Jonathan Bruni, Sales Director, Continental Europe Visit to Hazelwood House Speyside, Scotland — Thursday 25 to Friday 26 June The series closed with something truly special: a private, two-day visit to Hazelwood House, the Gordon family home in the Scottish Highlands and the inspiration behind the House of Hazelwood collection — one of the world's greatest inventories of aged and rare Scotch whisky. Over two days, a small group of guests were given rare access to a world that very few ever see: private tours of the Balvenie and Glenfiddich distilleries, a whisky tasting drawn from House of Hazelwood's private reserves, a Gordon family archive session led by archivist Andy Fairgrieve, and an evening of wine, whisky and storytelling over a four-course dinner at the house itself — each course paired with exceptional wines from FINE+RARE alongside whiskies of extraordinary age and provenance. It was the kind of experience that simply cannot be replicated — not just rare access, but a genuine connection to the family, the place and the history from which these remarkable whiskies come. These past few weeks have captured everything we love about what we do at FINE+RARE – connecting people with the world's most remarkable wines and spirits, in the most exceptional settings, surrounded by the stories and the people that bring them to life.  We look forward to sharing what lies ahead for the rest of the year. Interested in joining us at future events? We are pleased to announce that it is now possible to browse, book and purchase event tickets directly through our website, with all tickets viewable in your portfolio. Get in touch with your account manager or visit frw.co.uk/events to see what's coming up — we'd love to see you at the next one.

Tiberio in Hong Kong, Castello di Ama and rare whiskies in London, First Growth Bordeaux in Milan and a private Scottish estate — a glimpse of our events programme week to week. Plus, you can now purchase event tickets directly through our website.

From a Tiberio dinner in Hong Kong to rare whiskies in Scotland, a look back at recent FINE+RARE tastings, dinners and experiences.

Looking back at our recent events

Honeysuckle, peach, jasmine. Ripe, perfumed and exotic, viscous and heady – but, at its best, with a mineral, saline line and phenolic grip that keeps its hedonism in check. Condrieu is a wine like no other – and one that couldn’t be much less fashionable if it tried.  And yet, its top bottlings are incredibly hard to find. The likes of Georges Vernay’s Coteau de Vernon or Guigal’s La Doriane fly out on release. Chapoutier’s Coteau de Chery is absorbed effortlessly by France’s finest restaurant wine lists. The iconic Château-Grillet has almost vanished from the world of retail since it was taken over by Artémis. Production might be limited – but it’s also clear that there’s more than enough demand for these very special wines from the Northern Rhône.  The appellation and its unique expression of the Viognier grape has a rocky history. The Romans were the first to cultivate vines in this corner of the Rhône Valley – and they’ve been there ever since. By the 17th century, the wines from the steep slopes around the village of Condrieu were renowned throughout France. In 1853, there were 143 hectares of vines in the region – but then plague and pest arrived: powdery mildew swept through the vines, swiftly followed by phylloxera, decimating vineyards across Europe. With two World Wars, as well as the industrialisation of the valley, the workforce fled the vines for more stable, salaried factory work: looking up at the back-breaking angle of its slopes, entirely unmechanisable, it’s easy to see why the region’s vineyards were almost entirely abandoned. When the Condrieu Appellation d’Origine Contrôlée (AOC) was created in 1940 (encompassing the villages of Condrieu, Vérin and Saint-Michel-sur-Rhône), just six hectares of vines remained.  Only eight of the potential 170 hectares were planted in the 1960s and Condrieu’s future looked uncertain. But one vigneron was quietly working to change that.  Georges Vernay – whose father Francis Vernay had helped create the appellation after planting his family’s first vines on the Coteau de Vernon in 1937 – believed in the alchemy between Condrieu’s biotite granite slopes and the Viognier grape. At the time, the region was best-known for its stone-fruit – with a kilo of peaches worth significantly more than a kilo of grapes. (The area is still known for its fruit today, Jean-Marc Roulot sources the apricots for his eau de vie and liqueur from the Rhône.) When Georges Vernay uprooted orchards to plant Viognier, people called him a fool.  “No one believed in Condrieu anymore, or in Viognier anymore,” Philippe Guigal – the winemaker and third-generation at the helm of his family’s company – tells me. Philippe’s father Marcel was another pioneer of the region, persisting in making fine wine from the region’s uneconomically steep terraces.  Vernay kept his faith too – championing Condrieu, but also Viognier. Almost all the Viognier in the world was planted in Condrieu at the time, and Vernay supplied cuttings to those outside the region – encouraging others to plant this distinctive grape. At the same time, he championed the region with his age-worthy wines, especially the now-iconic Coteau de Vernon.  By 1986 there were still only 19 hectares of Condrieu planted, but Vernay’s battle started paying off – wine-lovers fell for Condrieu’s rich, textural whites and plantings rocketed. There were 38 hectares of vines by 1992 and 217 by 2024. But it wasn’t just in the Rhône that Viognier finally found its footing – plantings appeared in the Ardèche, the Languedoc, Australia, California (especially with the wave of Rhône Rangers, led by Randall Grahm) and beyond. Viognier’s lustre had been restored.  Although now much more widely planted, it’s only in Condrieu that Viognier reaches such heights. Here, on steep terraced slopes in this hallowed corner of the Rhône, the vines sit almost directly on the granite bedrock – a specific type of granite laced with biotite, an iron-rich black mica. It’s this biotite granite that defined the original Condrieu appellation created in 1940 – encompassing vineyards around the villages of Condrieu, Vérin and Saint-Michel-sur-Rhône. The monopole appellation Château-Grillet (sadly unable to comment for this feature) sits within Condrieu, classified four years prior, and sharing the same biotite granite. The iron in the soils is key, lending much-needed tension to the potentially flabby Viognier.  Finding – and keeping – that tension is key to the best Condrieu. And it isn’t about acidity per se, but a sense of freshness.   For Emma Amsellem – who works alongside her mother Christine Vernay at Domaine Georges Vernay, “It’s a combination of different things.” She attributes much to their farming (which is both organic and biodynamic), as well as working with old vines and low yields (normally around 27-30hl/ha). Maxime Chapoutier – who works alongside his larger-than-life father Michel Chapoutier at the eponymous empire – echoes how important vine age is for Viognier, much more so than Syrah or Marsanne, he says. He finds Viognier starts to produce fruit of significantly more complexity at 20-30 years of age, but the vines can also lose interest if they’re too old.   “The beauty of the balance of Viognier comes from its dry extract – from its bitterness,” he explained. It is, Chapoutier says, the hardest grape to pick – harvest too early and you won’t have the necessary dry extract, but harvest too late and the aromatics are too much. Ansellem also emphasised the importance of picking date: although you want to retain as much natural acidity as possible, you also need Viognier to be sufficiently ripe – and the window is getting smaller and smaller with climate change.  The challenge, as Philippe Guigal puts it, is to keep the richness, the full expression of Viognier, as well as its drinkability and salinity. He introduced a Champenois-style cycle, very long and slow, for their Condrieu – something that helps bring out the grape’s aromatics and structure, a concept echoed by both Ansellem and Chapoutier, working with Viognier’s natural thick skins. Chapoutier also highlighted the importance of oxygenising the must and then racking as little as possible, retaining the lees to help build on the grape’s “noble bitterness”.  Guigal is also particularly careful with fermentation temperatures, feeling it is key to keep ferments under 12°C to avoid any potentially heavy aromas.  It's that dry extract that allows top Condrieu to age so beautifully too. Chapoutier explains how he likes to wait at least five years before opening their Coteau de Chery, but it can age for 25, developing more layers of complexity – with notes of honey, lanolin, gingerbread and dried citrus peel. “A great Condrieu is a wine that doesn’t taste of Viognier,” he says.  Tasting through a flight of the region’s top wines last week was fascinating – from Chapoutier’s remarkably fresh, floral Coteau de Chery to the decadent yet mineral Coteau de Vernon from Georges Vernay. More than anything was perhaps seeing the response from those tasting – the wines far surpassing their stereotypical expectations. Not all the haters left lovers, but they certainly had a newfound respect for the style; and those that were already fans fell even harder for its charms.  There’s next to no room for further plantings in Condrieu, largely thanks to Georges Vernay’s efforts championing the region, and quality in the appellation is higher than ever before. The style of its heady wines will always be divisive – and perhaps that’s a good thing given how limited production of the best wines is. Its cool credentials may not quite have caught up yet, but it’s time to open up to the region’s opulent embrace – you won’t regret it.  Top Condrieu cuvées to look out for  Chapoutier’s Coteau de Chery: From a single parcel of vines between 40 and 80 years in age, this is aged entirely in old oak (larger, 600-litre casks). Production is tiny (often only two barrels) and goes almost exclusively to restaurants in France.  Georges Vernay’s Coteau de Vernon: This is just a stone’s throw (100m or so) from Vernay’s other single-vineyard, Les Chaillés de l’Enfer (literally meaning the terraces of hell, for its steep south-facing slopes). From the region’s most famous pioneer, the vines were planted in the 1930s and 1960s, in a natural amphitheatre, producing a profound expression of Viognier that ages beautifully.  Guigal’s La Doriane: Guigal’s top Condrieu is a blend of their top five parcels across the appellation, averaging 35 years in age, matured in 100% new oak – which is seamlessly integrated with the concentrated and powerful fruit.  Château-Grillet: The tiny monopole appellation covers 3.5 hectares of vines. Owned by the Artémis group (owners of Ch. Latour) since 2011, its wines are some of the most sought-after in the world, largely disappearing into wine lists.  Yves Gangloff’s Condrieu: Renowned for its voluptuous style, in all the best ways, this bottling from this famous winemaker is rightfully prized.  André Perret’s Chéry: Known also for their Clos Chanson cuvée, Chéry also comes from the Coteau de Chery, from a three-hectare plot of 70-year-old vines.  Ogier’s Les Vieilles Vignes de Jacques Vernay: Only 125 cases are made of this wine per year, making it incredibly hard to find.  Marie & Pierre Benetière’s Condrieu: Possibly even harder to find than their astounding Côte-Rôties, Pierre was inspired by and studied under Vernay before making his own wines.   Explore all current listings of Condrieu or read more Editorial 

The epitome of Viognier, Condrieu makes some of the world’s most remarkable wines – yet this appellation in the Northern Rhône came close to disappearing. Sophie Thorpe dives into its brush with fate and how producers manage Viognier’s natural hedonism to create wines that stand the test of time 

Condrieu’s wines are better than ever. We talk to Georges Vernay, Guigal and Chapoutier about the appellation’s comeback 

Condrieu’s comeback with Vernay, Guigal and Chapoutier 

Condrieu’s comeback 

Bordeaux’s white wines don’t often make it into the limelight and Ch. Margaux is one of the few top estates – beyond the borders of Graves and Pessac-Léognan – to make a white that is as highly rated, and collected, as its red.  Last year, lovers of its famous Pavillon Blanc were rewarded with the news of an addition to the First Growth’s range: a second white wine, known as Pavillon Blanc Second Vin.  From the 2004 vintage, the team became increasingly selective with the fruit that made it into Pavillon Blanc, and from 2008 only a third or maximum half of the Sauvignon Blanc they harvest was being bottled. The team started occasionally bottling a barrel or two of a possible second wine, with the final result often poured for the harvest team. They rapidly realised, however, that the quality was good enough to deserve much more than internal consumption.  The wine is a true second selection and therefore sees exactly the same winemaking and attention as Pavillon Blanc proper. Pure Sauvignon Blanc, it spends around nine months in barrel, with circa 25% new wood, and half the barrels larger demi-muids, and some bâtonnage at the start of the wine’s maturation. One of the most important stages is the pressing, which is done extremely gently, stopping as soon as the pH rises by 0.10, and meaning they only manage to get around 50cl of juice per kilo of grapes.  While the first release came from the smallest white vintage on record for the property (2022), the new release – set for Thursday 16th January – comes from the 2023 vintage, the highest yield on record since 1988 (although still an extremely modest 37hl/ha at Ch. Margaux).  We covered the conditions of 2023 extensively in our report on the year, but – as with 2023 in Burgundy – there was a heatwave as the harvest arrived. The team at Ch. Margaux stops picking as soon as the mercury hits 32°C – meaning that the pickers would start work as soon as it was light enough, but have to stop as early as 10.30am on some days. With the hot weather, the sugar levels started to creep up rapidly; but the Sauvignon Blanc was all picked between 23rd and 30th August – early enough to retain plenty of freshness.  More approachable than its big sibling Pavillon Blanc, Pavillon Blanc Second Vin is nevertheless a wine with serious ageing capacity – and one that offers a taste of the property’s masterful expression of Sauvignon Blanc at a very appealing price. It’s a stunning wine – a unique expression of Bordeaux Blanc from this top estate – and one that we can’t recommend highly enough. 2023 Pavillon Blanc Second Vin  The nose is beautifully expressive, with fresh pear, chalk, lime juice and grapefruit pith. On the palate, the wine is long and taut – yet with a waxy texture that might lead you to believe there’s some Semillon in the blend. This is pure Sauvignon Blanc, however – pure and vibrant, green-fruited yet not at all green. Forget cat’s pea and any grassy, herbaceous tones: this is a wine about tension and freshness, with hints of jasmine and honeysuckle. It’s vibrant and bright, with a satisfying bitterness to the long, mouth-watering finish. Already stunning now, this will only get better in bottle – with everything in place to allow it to evolve for 10-15 years. Sensational.  With 13% alcohol and a pH of 3.15, the wine was matured in around 25% new oak. Around 10,000 bottles were produced (versus just 8,000 in 2022).   The 2023 vintage of Pavillon Blanc Second Vin was released on Thursday 16th January 2025 and is available now

Last year saw Ch. Margaux launch the first vintage of a new wine in the First Growth’s line-up: Pavillon Blanc Second Vin. Ahead of the second release, here’s everything you need to know about the wine 

Everything you need to know about the second wine to Pavillon Blanc, Bordeaux First Growth Ch. Margaux’s new white wine, made for the first time in 2022 

Ch. Margaux’s Pavillon Blanc Second Vin 

The new release of Pavillon Blanc Second Vin

We explore the terroir and characteristics of Markus Molitor's top Grand Cru cuvees throughout the Mosel region. Markus Molitor talks us through the terroir profile and characteristics of his top single vineyard cuvees, plotting the wines on the map as we taste the latest vintages from each site.

Exploring the terroir and characteristics of Markus Molitor's top Grand Cru Riesling cuvees throughout the Mosel region in Germany.

Markus Molitor and mapping Mosel vineyards 

Markus Molitor: Mapping the Mosel

Anyone who’s had the misfortune of tasting a de-alcoholised version knows that alcohol is key to wine. Take it away and it leaves a gaping void in the glass – stripping the liquid of body and flavour. Those attempting to craft alcohol-free alternatives look to make up for its absence with sugar or flavourings, but the results don’t come close to the real thing. And of course the very fermentation process is key to complexity – there’s a reason we aren’t collecting single-site examples of even the finest raw grape juice. But alcohol’s a hot topic – and not just because of any health considerations. Trends and shifts in climate have seen the average ABV (alcohol by volume) inch upwards. Indeed, a report last year from Liv-ex suggested the average alcohol level has leapt almost an entire 1% for both California and Bordeaux since the 1990s. While once 14 or 14.5% might have been the purview only of the New World, it’s rapidly become the norm in Bordeaux. Rising temperatures are one element, as indeed is technology and know-how – harvesting cleaner, riper fruit and more efficient winemaking. Then, of course, there’s the fashion factor – the pendulum swing, arguably driven by Robert Parker, for bold, ripe, sweet and inevitably high-alcohol wines. “He loved that weight, that impression of sweetness,” Paul Hobbs tells me. “We jumped on the wagon – but we didn’t know what we were jumping on.” A cult name, Hobbs crafts some of Napa’s highest-scoring and most expensive Cabernets; indeed, Parker named him his Wine Personality of the Year twice. Born in New York State, the Davis-trained winemaker founded his namesake estate in 1991. He’d started his career at Robert Mondavi (arriving in 1977), working at Opus One and Simi before setting up on his own, with a flurry of personal projects and list of consultancies that has grown ever since. He openly admits that he got caught up in “Parkerisation”, crafting big, bold wines – no great surprise given the scores, and sales, that followed for those who did. But he’s been pulling back in recent years, and has never quite fit the cookie-cutout for the cult Cabernet crew. Ever since he first started making his own wines in the 1990s, he’s championed native yeasts (relatively radical at the time), and no fining or filtering. While he embraces oak, he’s always been aware that it’s the quality of fruit in the vineyard, preserved by operating a flawlessly clean winery, that is key to producing fine wine. Make no mistake that Hobbs makes rich, plush wines – and the alcohol levels certainly don’t sit at 12.5% – but for him there is much more to alcohol than one number. “I didn’t give much thought to it in the beginning,” Hobbs says. “And there wasn’t really much reason to.” When he was at Mondavi, the wines tended to sit at 13.5% – but then they started to go up. “There was a time when 16% was normal,” he confesses with some amazement. “Some of these wines were difficult. They didn’t age. They would get tired,” Hobbs says. “But all that took us time to learn – no one had ever been in that domain before.” He notes that there was “a backlash” in the British press against wines that didn’t please the palates of “the Hugh Johnsons, the Jancis Robinsons and Anthony Roses”; a response he clearly feels was a little unjust. “It’s far more complex than a simple number,” he says. “15 isn’t always 15.” And it’s true – alcohol doesn’t feel the same. How many times have you looked at the label of a wine and been surprised – either for better or worse? Alcohol is one element working in tandem with a wine’s body, concentration and flavour complexity – and there’s no easy figure to tell you how it integrates with these other components. But there’s another key reason why the same alcohol level can seem so different: the nature of the alcohol. The main alcohol in wine is ethanol (a molecule with two carbons), however fermentation produces other types of alcohols – specifically superior or higher alcohols. Often known as fusel oils – from a German term “Fusel” which is colloquial for low-quality booze – these alcohols have three to six carbons in their molecular form and are significantly more viscous (hence “oils”).  While ethanol is pure and relatively neutral, these heavier superior alcohols can – in low volumes – bring flavour, texture and interest. “It’s what makes something more than vodka,” Hobbs explains. Hexanols can add herbaceous aromas; 2-phenylethanol gives a rose-like scent. But they’re also associated with headaches and hangovers. In the world of spirits, these fusel oils are what runs out of the still last – forming the “tails” of distillation, which are used to varying degrees depending on the type of spirit being produced. “Alcohol is alcohol? Well, yes and no,” says Hobbs. It's high numbers of these superior alcohols, he believes, that can make one 15% wine feel clumsy and lumbering, while another – with lower fusel oil levels – can carry the same ABV with ease. The production of these superior alcohols depends on many things – yeast strain, temperature, oxygen availability and acidity. In general, red grapes produce more of the compounds (which is partly why spirits tend to use white grapes as their base). But Hobbs thinks it ultimately comes back to the vineyard: he’s started noticing that if berries are heat-damaged, they produce more superior alcohols. “Our goal is to keep these superior alcohols as low as possible – and that’s just about harvesting not sun-damaged fruit,” Hobbs explains. Under the warmth of the Californian sun, it’s common to get sun damage early in the season, but shrivelled berries tend to fall off nascent clusters of their own accord; more concerning is fruit that can be damaged internally and then won’t go through véraison, which needs to be sorted out. Late in the season, Hobbs and his team look to walk through the vines and cut off any “shoulders” (the side cluster at the very top of a bunch of grapes) that have been exposed. With global warming, this is an increasing threat – and an element of climate change that is only now being considered. If grapes are sunburnt or shrivelled, they tend to struggle with fermentation, and the stressed yeasts produce more of the superior alcohols. “The wine is going to be fat and heavy on the palate,” says Hobbs. “You can lower the alcohol by adding water – but it doesn’t change its personality.” If the fruit is in good shape – he says – you simply don’t have that issue, even at 15.5%. And those wines, provided they’ve got the requisite balance, age amazingly. Rajat Parr (star sommelier turned winemaker) and Jasmine Hirsch (of Hirsch Vineyards) founded In Pursuit of Balance (IPOB) in 2011 to champion lighter wines that they felt “weren’t chasing after ratings from wine critics”. These “new California” wines (Jon Bonné published his book The New California Wine in 2013) tended to have lower alcohols and less oak – following the swing of the pendulum back the other way; an anti-Parker effort in many ways. I attended the last London IPOB tasting in 2016, catching the crest of the wave as the movement called it quits – feeling they’d achieved their aim of building the reputation of an alternative California. Paul Hobbs arguably sits at the opposite end of the California wine spectrum (“Should all wines be 13.5%?” he says to me, “Why is that the magic number?”) – but philosophically, they’re surprisingly aligned. It’s not about the number, it’s about the balance – and Hobbs, like any posterchild of the new California movement, will tell you that the secret lies in the vineyard. The challenge is to farm and pick the perfect fruit – to find the sweet spot between flavour, sugar and phenolic ripeness. As Hobbs says to me, “That’s the dance between man and nature.” Forget the maths; this is farming. A note on the numbers Strictly speaking, the alcohol level on any label isn’t exactly what’s in the bottle. For wines sold in the EU and UK (both those made here and imported), producers are given 0.5% leeway – meaning that what’s on the bottle is generally reflective of its contents. In the US and Australia, however, wines sold domestically can differ by as much as 1.5% from the label – meaning a wine labelled as 14% could be anything from 12.5 to 15.5%. Browse all Paul Hobbs listings or discover more Editorial

With climate change and the influence of Robert Parker, it’s undeniable that we’ve seen a rising tide of alcohol levels. But there’s much more to the conversation than a simple number – as we discovered tasting and talking with Paul Hobbs, one of Napa’s leading names

The Napa winemaker Paul Hobbs on how we perceive alcohol in wine and why the alcohol level on any label isn’t exactly what’s in the bottle. 

Paul Hobbs on alcohol in wine 

The nature of the numbers: Paul Hobbs on alcohol

Domaine Jasmin

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