Every now and then, the word ‘singularity’ is used to describe a particular wine that stands apart, for whatever reason, from other wines of its type. But just what is singularity, and how can wine express it? Wine writer Tamlyn Currin investigates.

What makes a wine truly singular? Tamlyn Currin explores the rare bottles that defy convention and challenge the rules of the wine world.

Searching for Singularity in wine

Searching for Singularity

Sitting opposite us, the dark-suited, dark-haired figure waved an elegant hand at the bottle of white Burgundy which he’d just fished out of a carrier bag and planted on the table with the air of a conjuror at a party. “You’ll like this,” he said; it was a statement, not a suggestion, delivered in a faint accent with American overtones and a hint of gutturality. In this totally unremarkable West London pub, a bottle of Meursault looked as out of place as a KGB officer. Which he was. We did like it, of course, who wouldn’t? It made the greasy steak and chips almost bearable, and was one of the best wines I’d ever tasted at that point in my life. I was 33 that year, 1978, and as a newish BBC foreign correspondent I wasn’t particularly well paid. He’d brought the Meursault with him to show us how sophisticated he was, and to counter the blandness of the food. But why had he suggested The Mitre as a place for lunch? It was handy for the Soviet embassy up the road, certainly; but I realised that the real attraction for him was the high-backed seats that enclosed our table and kept our conversation private. Sergei was a major in the KGB, masquerading as a press attaché. The habit of secrecy was deeply ingrained in him. The Meursault started to work on my companion, a gossipy, amusing, slightly naïve BBC executive. It worked on me, too, but under the influence of alcohol I tend to go quiet and introverted. Not so Harry. He delivered the brief lecture about Soviet harassment of our Moscow correspondent which he’d been planning. It wasn’t bad, but it didn’t make Sergei burst into tears. On the contrary. “Ah, yes, the famous Declan.” Sergei managed to put the accent on the second syllable. “Such good Russian. A pity he wastes his time hanging around those drop-outs and wastrels.” I was particularly impressed by ‘wastrels’. “I suppose you mean dissidents,” I said, pushing my glass across for more Meursault. The label read ‘1968’; the Soviet embassy must have had a superb cellar. Sergei laughed scornfully and poured. “I hear Declan’s marriage isn’t going so good now,” he said. “Ah, no, his wife left him for an airline pilot,” Harry replied, giggling. I kicked him sharply: you didn’t feed personal details about your colleagues to KGB officers. “What?” Harry said, looking at me. We saw the bottle out. Sometimes I think I can still taste that rich, green-gold collection of butter, almond, citrus and, could it have been, or is it just my imagination after more than 40 years, hints of bracken and mayflower. At the end, we stood up and shook hands. “So you’ll go easy on Declan from now on?” Harry said. “Well, Declan must stop creating bad propaganda against the Soviet Union.” He had a good ear: this time the accent was on the first syllable. Sergei turned in the direction of the embassy, and we headed back to Television Centre. “Bloody good wine those Russkies can afford,” Harry said, and gave his high-pitched laugh.For journalists and spies, booze is a famous lubricant, a fuel, even. I came from a teetotal background, yet when I started as a foreign correspondent I soon found myself ordering a glass of single malt as a means of self-protection, while someone I was trying to pump for information opened up and talked in a way he or she never would if I’d ordered a Britvic orange. Yet there were exceptions. In Belfast and Derry, where I started my reporting career, the leaders of the Provisional IRA were mostly ultra-Catholic and never drank a drop; and as I branched out and began reporting on the Middle East, I found that organisations like Hezbollah and the followers of the Ayatollah were as teetotal as I had once been. There were no bars to meet them in, either. Fortunately, though, cities like Cairo and Beirut were more sophisticated. I soon found that anywhere with a sizeable Christian population, Egypt and Lebanon, of course, but also Syria, Iraq and westernised countries like Turkey and Pakistan, made allowances for thirsty westerners and permitted them to drink, even if in cities like Peshawar you had to sign a big leather volume and register yourself as an alcoholic. The bar in the old Commodore Hotel in Beirut was a wonderful centre for professional alcoholics of this kind. I first went there in June 1982, when West Beirut was under hourly attack from Israeli planes and tanks, and there were no shelters to protect us. The presiding spirit of the place was a correspondent called Chris Drake, a hospitable soul who dispensed booze and information even-handedly. When the barrage was going on, it would have been suicidal to leave the Commodore, and the building shuddered to every nearby explosion. Chris Drake had a parrot, and when the bar was packed in the evening with journalists glad to still be alive, it would imitate the sound of a shell in flight with startling accuracy. Most of the people there, not me, thank God, had walked into the bar on their first night, heard the parrot’s hugely convincing whistle, and thrown themselves on the floor shouting “Incoming!”. There would be a roar of laughter, and someone would help them up and offer them a glass of arak, an infusion of grapes and the seeds of the anise plant. I acquired a real taste for arak at that time, and I still think of that slightly oily, metallic, liquorice-tasting liquid hitting the back of my throat and burning its way down. A few years later, during another upsurge of fighting, the Commodore was heavily shelled by the Syrian army. The building was destroyed, and no trace of the parrot was ever found. When peace was restored and there was money around, the Commodore was rebuilt, much bigger and more glitzy, but the architect designed a new bar precisely where the old one had once been. You can still see the space on the floor where many a famous journalist measured his length when the parrot did its party trick. I took my wife and 13-year-old son there a couple of years ago, and one afternoon, when the bar was empty, my son insisted on re-enacting the whole thing. In China, things were different. Meetings with underground figures usually took place at their homes or outdoors, given the fear of surveillance. I often chose Ritan Park in Beijing, where teahouses served pu-erh tea and offered a discreet place to talk. By contrast, official meetings required alcohol, specifically Maotai, a fierce baijiu distilled from sorghum at over 50% ABV. At one banquet, after being insulted by a local Party official, I tried to outdrink him. The plan failed, he had help, but we still ended the night collapsed together, singing in two languages. The next day, I was told this had enhanced British prestige. Countries where alcohol is banned present different challenges. In Taliban-controlled Afghanistan, I smuggled in a 27-year-old bottle of Laphroaig disguised as Fanta, only to pour it down the toilet when soldiers began searching rooms for alcohol. They never entered mine. After the fall of the Soviet Union, I tried to track Sergei down but never found him. Before that, though, I had taken my revenge by signing him up to every unwanted mailing list I could find, encyclopaedias, dubious magazines, and more inventive subscriptions besides. It made me feel very good.And yet, if I imagine meeting him again, I always picture the same thing: Sergei standing in the doorway, holding a superb bottle of Meursault. For that, at least, I’ve always been grateful. This article was written by John Simpson, who reflects on his experiences reporting across the world, and the role alcohol has played in the art of face-to-face reconnaissance. Illustrations by Natsko Seki. Originally published in FONDATA, Issue Two.

BBC world affairs editor John Simpson reflects on reporting from conflict zones, recalling memorable bars, encounters and the role alcohol plays in the subtle art of face-to-face reconnaissance.

BBC world affairs editor John Simpson on bars, encounters and how alcohol shapes reporting, trust and intelligence gathering worldwide.

John Simpson on bars, spies and the art of reporting

Refuge,  refreshment & reconnaissance

Group CEO Patrick O’Connor reflects on Bordeaux 2025: a hot, dry and early vintage defined by small yields, precise viticulture, restrained winemaking and a new wave of estates delivering wines of real distinction.

Patrick O’Connor, Group CEO, explores Bordeaux 2025: a hot, dry, early vintage shaped by precision, small yields and standout wines.

Bordeaux 2025 en primeur: vintage overview      

Bordeaux 2025: vintage overview               

There are times when you put a question to a winemaker and he puffs out his cheeks and rubs his chin and you know he’s thinking, ‘Journalists.’ When I ask Promontory’s David Cilli what exactly is meant by ‘interpretation of terroir’, he courteously describes the process of trying to get the wine to reflect the character of the land. But he gives the impression my question was like quizzing Monet on how he got his effects. If you don’t get it, you probably won’t. The character of Promontory, on the day I visit, is quite something. It’s early May and the rain, which has been falling steadily all night, has turned to a lashing downpour that has raindrops bouncing six inches off the windscreen. We’re in a jeep piloted by winegrowing director Cory Empting and since turning off the main road we’ve been climbing steadily through dripping stands of oak with pocket-handkerchief vineyards between them. ‘Shall we stay in the car?’ asks Empting. ‘If we could,’ Will Harlan suggests from the back seat. I’m here with Empting, Cilli and Harlan. Bill Harlan has appeared briefly but I don’t see him again until we sit down to taste. He formally handed over control of Harlan Estate, Promontory, Bond and The Mascot in 2021, appointing 37-year-old Will managing director. Cilli (44) arrived in 2012 and is in charge of vineyard and winemaking at Promontory. Promontory is an 840-acre fastness, a deep valley folded into the foothills of Mount Veeder, on the west side of the Napa Valley. From the highway, you think the looming ridge you’re looking at is the edge of Sonoma. But there’s another ridge beyond and between them this interesting domain. It’s remote, even by Napa standards (contrary to opinion, there are plenty of wild spaces in the county). The ultra-refined French Laundry is a couple of miles away but it might be in Wisconsin for all the relevance it has up here. Bill Harlan had come upon it hiking in the 1980s. ‘I used the Carmelite monastery [we’d passed it on the way up] as a base and just started climbing’. There were no vines but he was intrigued by its seclusion. It might be possible vineland for the Napa project he had in mind. In the end, Harlan Estate was founded less than a mile to the north but for 25 years Harlan kept the idea of that parcel tucked under his hat (he never mentioned it, Will says) before it came on the market in 2007 and he snapped it up. "Vineyards, some a mere half-acre, are etched into towering, wooded hillsides and drop down into cavernous combes dense with oak and fir" The owner – the Harlans don’t reveal who that is – had planted 80-odd acres of Cabernet Sauvignon. It was neglected, the vines overgrown. Trees had been felled and never collected. ‘It was a mess,’ Will says. ‘It looked like a logging operation.’ But it is magnificent. Vineyards, some a mere half-acre, are etched into towering, wooded hillsides and drop down into cavernous combes dense with oak and fir. The whole estate is thickly forested, the vines often shaded on three sides. An old drovers’ road, running through the woods, will suddenly open out on a wide vista of vineyard and scree. Everything is deeply, lushly green in the steadily falling spring rain. The geology of the land is unusual, in that it rests on two distinct fault lines and consists of all three soil types that are found in Napa: volcanic, sedimentary and metamorphic. ‘You get all three in the same soil pit,’ Cilli notes. This, combined with the wild variation in aspect and the microclimate of the valley-within-a-valley, gives credence to Harlan’s claims that this part of Napa is like nowhere else in California. When the celebrated soil scientists Claude and Lydia Bourguignon came, they found the experience ‘novel’. Cilli said he fell in love with Promontory at first sight. It reminded him, in part, of his native Tuscany, but it was the wildness that captivated him, ‘I love that character that you can see in the wines.’ He said it was probably ‘the only project that could keep me in the valley.’ You get the impression none of them can quite believe their luck. ‘It somehow redefined what looks beautiful,’ Will says. It also redefined their ideas of winemaking. He goes on: ‘We were used to control. Harlan in the 1990s was obsessed with organisation and uniformity but Promontory was wild.’ The theme of wildness recurs. Harvest times are key to ‘find a way for it to come through,’ Will says. Empting: ‘Pick too late and you lose the ruggedness.’ Ageing, in the magnificent Howard Backen-designed chai, is all in Stockinger Austrian oak barrels ranging in size from 10,000 to 46,000 litres, for up to 36 months. ‘The fine-yet-tight tannins required longer barrel-ageing but [we] didn’t want the wine to be overpowered by new oak’. It’s a constant process of refinement and improvement – ‘we learn something new each season’. Empting: ‘It has blown every expectation out of the water. We were excited and we were scared. We didn’t know what this beast would be. Our learning curve has been very steep, it remains very steep. At least now we’re starting to get our arms around it but at the beginning, it was like: God, we cannot figure this thing out.” "I found in the 2016 a moment where the various elements come together: the savoury nose, the fine tannins, the weight without heaviness" You have to remember we’re talking about winemaking here, not Wittgenstein. But ‘interpretation of terroir’, if it’s to mean anything at all, should be taken seriously. I’ve seen vineland all over the world – rock-strewn fields in the Andean foothills, rainless Spanish deserts – but I’ve never seen anything like Promontory. Were I to be tasked with bottling the soul of that vineyard, I’d reach for metaphor as well. And so we come to the missing shade of blue. This is the concept propounded by the 18th-century philosopher David Hume, that an idea can be formulated without a previous sensory impression to give rise to it. He asked, Could a shade of blue missing from a spectrum be imagined by an observer? Harlan says (with a smile – he does have a degree in philosophy) that Promontory is the missing shade of red. ‘Until you’ve seen and experienced it, you don’t know that it’s missing. And so for us this was that final piece. The piece that wasn’t there that we had the opportunity to understand and try to translate into the wine.’ The next morning, in gorgeous May sunshine, we gather to taste. It’s almost the same group, though smaller, that did the mighty vertical of Harlan estate from magnum in 2020. Bill Harlan is there (he sweetly thanks the team for allowing him to taste, saying it’s the first full vertical of Promontory he’s ever done), Will, Empting, Cilli and the journalist Elaine Brown. We wonder, at the end, if there is thread that runs through the wines. In my notes the words ‘deceptively light’ recur, as do ‘structure’ and ‘stone’. Reaching for metaphor again, Will Harlan compares the structure of the 2016 to cathedral stone, which has ‘both weight and lightness. It’s intricately carved and light filters through the windows.’ I found in the 2016 a moment where the various elements come together: the savoury nose, the fine tannins, the weight without heaviness. Will Harlan calls this vintage an ‘inflection point’ and notes how the tannins are the ‘main differentiators’. Yes, agrees Cilli, ‘and because of the character of levity and lift, we have to be precise with the tannins.’ The younger vintages have an astonishing latent energy, tannins under tight rein, aromas bursting, the fruit compacted. Brown and I were struck not by the sophistication of these wines but by their honesty. Brown WhatsApped me later. ‘Promontory is the most transparent to place. The wines are impressively well crafted and elegant while still offering an almost wild or primal complex of flavours.’ "The wines are unmistakeably Californian but they are also unlike anything I’ve tasted in Napa" ‘How do we take wine from a wilderness and have sophistication?’ Will asked. It’s a great question – with their resources, the Harlans could do anything they liked with Promontory. After all, they have to make a wine that will please their audience. But this was so unexpected. The tasting revealed a keen focus on the land and the vintage. The difference between the years was often marked – the challenge of 2015 for example showed in the wine – yet we could see that common thread running through, even as the wines increased in elegance. And what of Will’s quest for the missing shade of red? The wines are unmistakeably Californian – that splendid 2017 could come from nowhere else – but they are also unlike anything I’ve tasted in Napa, which is quite a claim, in the world’s most cultivated wine region. Perhaps the last word should go to Bill Harlan, who started the whole thing. He speaks hardly at all during the tasting, his Old Testament face giving little away. At the end of the morning, he talks of his fascination with the ‘ongoing discovery’ of the project. The wines have character, layers and depth, he says, and – by way of praising their authenticity – he notes, ‘You never know what’s coming next.’

Written for Club Oenologique, contributor Adam Lechmere visits California to trace the evolution of Promontory, one of Napa’s most magnificent sites, with a vertical tasting of 14 vintages revealing the wild beauty, elegance and remarkable evolution of its wines.

Written for Club Oenologique, contributor Adam Lechmere visits California to trace the evolution of Promontory, one of Napa’s most magnificent sites.

Wildness captured: tasting 14 vintages of Promontory

Xiao-Li Meng, professore di Statistica Whipple V. N. Jones a Harvard e fondatore e direttore responsabile di Harvard Data Science Review, si è lasciato ispirare da uno studente per combinare vino e statistica — ottenendo intuizioni ben oltre quanto entrambi si aspettassero.

From wine tastings to data science, Xiao-Li Meng explores how statistics reveals simplicity in complexity – one glass, experiment, and insight at a time.

Wine, statistics & serendipity: A Harvard journey

Semplicità nelle statistiche, complessità nel vino, il resto nei biscotti della fortuna.

Screaming Eagle winemaker Nick Gislason wears many hats – he is also the Technical Director of Lopez Island Community Fireworks and co-founder of Hanabi Lager. FONDATA's Gavin Lucas caught up with the busy man to discuss how these dichotomous ventures have more in common than you might think.

Screaming Eagle's Nick Gislason on winemaking, beer brewing (Hanabi Lager) and designing fireworks (Island Community Fireworks)

FONDATA: Curiosity & Wonder: Magic’s Secret Ingredients 

Curiosity and wonder: magic’s secret ingredients

William Lowe has achieved a great many things in his life. At the time of writing, he’s the only Master Distiller to also hold a Master of Wine title. At the age of 41, he already has countless letters after his name from various academic qualifications in psychology and philosophy, and is months away from embarking on a PhD in Chemical Engineering and Biotechnology. “I’m a serial studier,” he says with a boyish smirk and an infectious giggle. “I can’t help it. I think I’ve had 17 consecutive years of exams in one shape or another.” Somewhat surprisingly, given the laboratory behind him as we speak and the very scientific qualifications he has to his name, Lowe doesn’t come from a science background. He joined the wine and spirits world one day after he turned 18, working as a bartender. He says his “very academic” family thought his choice to bartend was a phase. But, at 18, Lowe took his grandfather’s words “if a job’s worth doing, it’s worth doing well” to heart – something he still believes to this day. “I took that not just to mean if you’re going to do something, do it as best you can. But genuinely it’s a question of self value. Why waste your time doing something to a mediocre standard? There’s just no point. We’ve got a limited time on this planet, haven’t we? So I thought, if I’m going to be a bartender, I want to be really good at it.” After bartending internationally and mixing drinks for the Queen and celebrities, Lowe ran bars and restaurants for a time, before he went into distribution and then education, training more than 10,000 people worldwide. From here, the man with the voracious appetite for learning moved into production. In 2012, he set up Cambridge Distillery – which started life in his front room. Rather than use a traditional copper pot still, Lowe fashioned a vacuum still with rudimentary apparatus to distil his fresh, seasonal botanicals according to their individual needs. “The methods that we use here were literally laughed at a decade ago,” he explains. “And then they were thought a curiosity seven or eight years ago. And then a bit weird but quite interesting five years ago. To the point now where what we do here has resulted in gold medals for quality for literally every product that we have ever commercially released, and that gets some attention.” Over the past 10 years, Lowe has produced a series of world firsts. “There was no such thing as gin in Japan before I did that,” he says with pride. In order to explain to the world why it was a Japanese gin, Lowe told everybody what it was made from and now there are lots of Japanese gins. “Every single one of them is based on a recipe I created here in Cambridge,” he bristles. Lowe says a lesser man would find that very frustrating but cites a “wonderful quote that most people only know the first half of”. “You know they say imitation is the most sincerest form of flattery?” He continues, “… that mediocrity can pay to greatness”. “It’s damning with faint praise,” he adds. “We see a lot of these products come along. I made the world’s first gin out of insects. A lot of other people have tried that too. I made the world’s first gin out of truffles. A lot of other people have tried that too. But I don’t begrudge people following because that’s great – it means we’re doing things right and that is excellent. “And actually, if the whole world takes this approach of going quality-first and really aiming to make the best gin they can make, rather than the cheapest gin they can make with the best profit margins, well then we are in a good place. But, there are things I have worked really, really quite hard on in here that are outside of a patentable space, so we’ve got some very well-guarded secrets. “For example, our Truffle Gin is not just juniper and truffle. But there is only one other person in the world, other than me, who knows the full recipe for that and he’s my Head of Production.” Lowe then adds quite seriously: “and we never travel in the same car.” During our hour-long video call, Lowe sits in front of his laboratory-cum-distillery and periodically pulls props from beneath the bench upon which he sits. He jumps up to show me the oar from the Oxford/Cambridge Boat Race – coincidentally, the day Cambridge Gin officially launched in 2012, Oxford infamously broke an oar – and he repeatedly holds up A1 photographs of the distillery in its various stages of development, and his favourite prop: a miniature copper pot still. He also, much to my delight, takes me into the laboratory – with index finger to lips like a child sneaking into a room he’s not allowed to enter. The laboratory surface is lined with five small stills that look nothing like the copper pot still miniature he regularly and animatedly holds aloft. “Instead of having one big one, I’ve got lots of little ones,” he says with that smile. “One of the first things that people laughed at when we were talking about this [distillery], is they said well that’s great but you can’t scale it so it’s pointless. My point was fundamentally that actually, I wasn’t trying to prove you could scale it. I was trying to prove I could make a better gin. Well, I’ve done that. Next problem is scaling it. And, if you can't make a bigger one, just get LOADS – it’s fine,” he grins. Lowe can have five different botanicals running five different regimes at five different temperatures and five different pressures all at the same time. The resulting liquid isn’t gin, he tells me, but “lots of little threads that I have to weave together into the tapestry that becomes gin”. His, now trademarked, nine-step approach is called a novo-dimensional distillation matrix. Lowe will talk about pressure and temperature but he, for aforementioned reasons, will not discuss the other seven. He says his commercial and production team, on occasion, accuse him of having NPD Tourette’s – NPD being New Product Development. “Because I do go quickly,” he blurts out. “By the time you’ve seen a new release from us, I’m normally three or four projects further down the line.” He says they had to strike a deal because his flights of fancy are “so brilliantly fun” and he finds them “very, very engaging” – but there are commercial realities that underpin his work. For this reason, Lowe has created a triage system for new product ideas. As a general rule, if it already exists then he’s not interested – unless he thinks the product that’s out there isn’t good enough and he can improve it, in which case he’ll “just make it better and explain how it’s better and then people get to taste it for themselves”. If it’s a truly new idea, then he will ensure the new product has a purpose and reason to be. His Truffle Gin, for example, was born out of a desire to create a digestif gin – because a waiter at a Michelin-starred restaurant once remarked that there wasn’t a gin “good enough” for the digestif trolley. After months and months of reverse engineering the taste profile for a “good enough” digestif – think chocolate, tobacco, leather, tar, smoke and forest floor – Lowe released a gin that has since gone on to win countless awards. He didn’t say, but I’d hazard it also now graces that digestif trolley. Lowe is ambitious – doggedly so. He says Cambridge Distillery set out with a singular objective to be the world’s leading luxury gin producer and that his goal has always been to be the best. He’s the world’s first gin tailor, who sits with private clients for an afternoon and creates a gin based on their specification. And every product he releases wins at least a gold medal in tasting competitions. When asked how this is possible, he responds: “I taste for a living. It’s my job. I’m the best part of a quarter of a century doing this now. And, within that quarter of a century, I have been judging both wines and spirits internationally for over a decade, I’ve been teaching the Diploma at the WSET, which is the highest qualification offered by the world’s biggest wine and spirits school. I’ve also been called out by people like the IWSC and the WSET who named me one of their future 50. British Airways named me as one of their 100 modern Britons for my services to the food and drink industry. And, last year, I became the world’s first Master Distiller to also become a Master of Wine. “And I’m not just telling you this to seek the approval that I’m yet to receive from my father – the point here is that I’ve got a good palate. I’ve been working on it for a long time. And the system I use makes that palate more accurate by a factor of 10 to the power of four. And that’s why, when I release a gin, I know it will get a gold medal. Because if it isn’t a gold medal standard then I just don’t release it.” Lowe’s next qualification is a PhD in Chemical Engineering and Biotechnology on the intrinsic liquid properties of quality in wine and spirits and how they map to the extrinsic perception of quality in a range of novice, amateur and expert tasters. This, he says, could have sat in psychology, philosophy or chemistry. He chose the latter as a “challenge” because he’s “pretty strong” on the first two. “What I’m trying to do at the moment is focus my efforts,” he says. “And focus them on the things that I think are smart goals which are objectively measurable and achievable. And stretching and challenging – because I’m not interested if it’s not a challenge. “For example, let’s face it, the work that is part of that PhD is what I would be doing anyway. The PhD gives me the structure and it imposes a timeline and it brings me that focus. So it is absolutely part of my ecosystem and it works because it works. “There were times when I was trying to balance my WSET Diploma with a part-time Masters in Forensic Psychology – that was a lot harder. Very, very different subjects and I found the switch between them very stimulating. But this is absolutely all guns trained on the same target.” Lowe says he became a distiller to solve problems others hadn’t. While he is seemingly laser-focused on gin, one can’t help but feel there are problems in other spirits categories that a man of his tireless energy is just itching to solve. When the question is put to him, he says simply: “Never say never.” Thankfully, as is often the case with the Master Distiller, he elaborates: “My wife is the voice of wisdom and reason within the business. I remember once being sat at our dining room table and I had two application forms in front of me: one was for the Master of Wine and one was for the Iron Man that I was intending to do later that year. “I was looking at these two things and thinking this is going to be tough and my wife looked at me and said: ‘Will, there’s no shame in it. You can’t be elite at everything…’ and I was just about to say ‘I bet I can…’ and she finished her sentence with the words ‘at the same time’. And that was it.” When asked how he finds the time, and quite frankly, the energy, for the many things he is currently focusing on, he says: “Time isn’t something you find. It’s something that you utilise. We’ve all got 168 hours in the week and it requires discipline and prioritisation. That’s how you make your time.” And really, really good gin. Learn more about Cambridge Distillery or read more Editorial 

There are a lot of impressive people in the drinks industry, but you’d be hard pushed to find somebody quite as accomplished and personable as Master Distiller William Lowe MW. Holly Motion asks the man with the golden touch about his incredible career to date

William Lowe MW, the world’s first gin tailor, on turning the smallest distillery in the UK (Cambridge Distillery) into the golden goose.

William Lowe MW on his gold-medal Cambridge gins

William Lowe MW: the man with the Midas touch

Think of the Golden State and you imagine sunshine, orange trees and top-tier surf. But this past week, I’ve seen crazy winds, dramatic (and welcome) rainstorms, below-zero temperatures and more snow than anyone in Napa has seen for 50 years. In a similar way, it’s all too easy to shoehorn the region’s wines. Big Cabernet. Buttery Chardonnay. Those, like the sunshine and surf, are the clichés. But there’s much more than cliché to California, an area as large as many countries, and the wines made here. Over 1,000 miles from north to south, with vineyards sitting at altitudes of 50 to over 2,000 feet, cooling influences from the Pacific and San Pablo Bay, complex ancient soils (up to 140 million years old)… California is far from simple. And you’ll find everything from Arneis to Pinot, Grüner Veltliner to Schioppettino. This week, we’ve been on the road, exploring Napa and Sonoma, talking to just a handful of the producers that have made California such a special place for wine-lovers. The scale of this landscape is grander, with a sense of space to breathe, the parcels of vines tucked in amongst hills and mountains, with the expanse of coastline just a short drive away. You can see why it was – and is – a land of promise.
 While Napa and Sonoma are firmly established as fine wine regions today, their history is comparatively short. George Yount (who gives his name to Yountville) is thought to be the first person to plant grapes for wine in Napa in the 19th century, while Charles Krug was the valley’s first commercial winery, founded in 1861 – closely followed by names such as Schramsberg, Beringer and Inglenook. By 1889 there were over 140 wineries in the area. But phylloxera struck, then Prohibition, and the thriving industry’s expansion was sharply curbed. Producers that survived that difficult period found loopholes in the law, such as unofficial home-winemaking kits and sacramental wine. After Prohibition’s repeal in 1933, it took time for the industry to find its feet. The Mondavi family – who bought Charles Krug – was integral to its development, but the focus wasn’t immediately on fine wine. Figures such as Georges de Latour, Louis M. Martini and André Tschelischeff started changing the story, but it was arguably Robert Mondavi – who struck out on his own to found the eponymous winery – who led Napa into a new era, championing it as a region that could compete with the Old World. Of course, the now legendary 1976 Judgement of Paris was the turning point. When California came out on top in Steven Spurrier’s blind tasting, the world took note. Soon the cult of Napa Cabernet was born, and as Parker’s scores swayed palates, prices soared. 
But it’s unfair to think of that as the region’s story – for there is much more to uncover beyond the sheen of those 100-pointers. While of course some producers come with the polish you might associate with Napa, almost every winery we’ve visited has been fast to focus on the vineyard, whisking us out to walk or drive through the vines. As an agricultural state (grapes – both wine and table – are only the second biggest crop here, following the dairy industry, and with almonds only just behind), farming is at the heart of its culture.
 And it’s ever more relevant, with the region at the forefront of climate change – as this week’s extraordinary weather conditions show. Drought is an ongoing challenge (although recent rains have replenished groundwater), and wildfires have stolen headlines – especially in the 2017 and 2020 vintages (expect much more from us on this soon) – ravaging vast swathes of land, the flames and the associated smoke taking both lives and livelihoods. Despite these challenges, there’s such excitement here – with an electric vitality to the industry. Land prices in Napa are enormous – over half a million dollars per acre for the best sites, and planting any additional land is almost impossible. But that isn’t stopping its evolution, with shifting farming, winemaking, varieties and styles as producers look to redefine modern Napa. Head west towards the Sonoma Coast, where the ocean breezes and fog are bone-chilling, and new frontiers are being forged. The skies here are moody, thick fog cloaking the view of this exposed area, but fields of sheep and cows are being replaced with vineyards as people push limits to create restrained styles, especially of Pinot and Chardonnay. 
We can’t thank producers who have swung open their doors to us enough. We’ve already had so many fascinating conversations about the trends and challenges in the region, about what people are doing in the vineyard and winery and why, and tasted some remarkable wines. Hundreds of thousands of people headed west in the 19th century, drawn to this corner of the land of opportunity. Many didn’t find their fortune in the Gold Rush, but this is still a place that holds such promise.  Reinvention and revolution is the Californian way, powered by a uniquely American entrepreneurship. Forget the scramble for treasure, today the bold and the brave are creating their own destiny – and it’s filled with hope.
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After a week spent touring some of Napa and Sonoma’s best wineries, exploring the Golden State and what makes it so special. Sophie Thorpe considers why – three centuries after the Gold Rush – California remains a land of opportunity

After a week of touring Napa and Sonoma, we consider how California wine producers are creating their own destiny – and exceptional wines

Wine’s land of promise – California

Land of promise: California

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