Sometimes you just want to watch whatever is being broadcast; other times only a particular film will do, even if costs. Is that also how beer works these days?
Last week the cultural and political commentator John Harris (@johnharris1969) took a pause from the frenzy of post election analysis to make an observation about beer:
Our instinctive reaction to this was, frankly, a bit dickish: ‘Ugh, what is he on about?’ Much as we imagine he might have responded to a Tweet saying, for example: ‘Why buy the expensive new Beatles reissue when Poundland has a perfectly good Best Of Gerry and the Pacemakers for £2?’
But of course, in a sense, he’s right: if you aren’t obsessed with music, wine, clothes, or whatever, you shouldn’t feel obliged to spend loads more money on a version of that thing that is no more enjoyable to you than the readily available, budget version just because of peer pressure or marketing.
The problem is, once you do get into beer, the generic doesn’t always cut it. If you just want something to absentmindedly sup while you socialise or watch TV then whatever is on special offer this week is probably fine, but if you’ve got a particular yen to wallow in the pungency of American hops then LIDL’s Hatherwood Green Gecko just won’t do the job. If you’re really in deep you’ll probably even turn your nose up at about two-thirds of supposedly ‘proper’ craft IPAs, too. And you’ll be willing (every now and then) to pay a bit more for a particular experience — a rare beer, a curiosity, something with a particular cultural or historical significance.
‘Whatever happened to having a conversation, instead of tapping away at screens? That’s what I want to know.’
We’ve been on the receiving end of a version of that heckle twice in the past month. What we did to earn it was, of course, being caught in the pub with one or more smartphones out.
There are all sorts of good reasons for looking at your phone in the pub, even in company. In our case, we’re often taking notes for one project or other, tinkering with a photo of the very pub we’re in for social media, or looking up the answer to an important question that’s come up like, what is the etymology of the word ‘poo’? (Only used to refer to faeces in the UK since the 1960s, apparently.)
In other words, it’s part of the way we make conversation, not an obstruction to it.
And, anyway, we’ve been together for very nearly 20 years so if one of us does want the other to put down their phone, we’re pretty comfortable just saying: ‘Oi! Give me some attention! You’re being boring.’
Both times we’ve received this kind of telling off it’s come from older men and hasn’t felt friendly, or as if was intended as a conversation starter — just like a kind of drive by judgement.
Why do people do insert themselves into other people’s business this way? And does it bother you to see people looking at screens in the pub?
If someone comes into your pub twice you’re missing a trick if you don’t say hello.
We were hanging out with Bailey’s parents recently when his mum told us this story about their pub-going in the 1970s:
The second time we went into The Cobblestones the landlady came over and said, ‘Right, if you’re going to be coming in regularly, I ought to know your names.’ Then a few months later she said, ‘I’ve got something for you,’ and gave Dad a pint glass with a euchre hand on it, and Grandpa a glass with cherries on, because he liked the fruit machines. We drank in there for years.
This seems like such a simple, effective, emotionally manipulative approach. If you see the same face twice, make a formal introduction, and then use those names at every opportunity. Then after, say, three months of regular custom ask if they’d like a loyalty card, or a glass behind the bar, or make some other small gesture — ‘That one’s on the house.’
Lock them into the relationship, like the free sandwich thing at Pret a Manger.
In practice, there are probably all sorts of reasons this doesn’t happen so often these days, not least the fact that it feels ever rarer to actually find the licensee behind the bar. We often ask (because we want permission to take photos or need to ask some questions for one Thing or another) ‘Is this your place, then?’ and we can’t think of many occasions when the answer has been anything other than, ‘No, I’m just the manager.’
In big chains, though, Creating Regulars could be built into staff objectives and the performance management programme… Aaaaaaaaand we’ve depressed ourselves.
Selling your brewery for fabulous amounts of money to a big multinational isn’t a problem — it’s doing so when you’ve made capital from being opposed to just that kind of thing.
If you had made a point of saying along the way, ‘We would never rule out selling to someone like AB-InBev — we have no beef with Big Beer,’ then it’s unlikely anyone would get annoyed when you did so.
So why didn’t you do that?
It must have been at least partly because you believed you’d gain less publicity and adulation, and sell less beer.
You might have been right to think that, but we suspect not: the other way, you’d gain marks for honesty, and pick up the kind of fans for whom beer isn’t so pungent with politics.
Either way, if you insist independence is important when it benefits you but then decide people who care about it are silly and immature when your situation changes, expect them to be annoyed.
There’s been the odd brewery closure in the last year, most of which we’ve taken note of without regarding them as HARBINGERS OF DOOM. But maybe we’re being complacent.
Breweries come, and breweries go, but the overall number continues to climb. Now that we live in a country with 1,800 breweries it’s hilarious to read articles from the early 1980s in which people fret about how crowded the microbrewery market was becoming with something like 35 in operation UK-wide.
If a brewery closes every now and then, even if it’s a tragedy for those involved, it’s part of the healthy operation of the market.
But what if you do that thing that people hate and categorise breweries: is the ‘craft’ end of the market (def 2.) in more trouble than the brewing sector as a whole?
We ask because this Tweet from Craig Heap grabbed our attention:
We’d missed the news about Otley. If you’d asked us to name Welsh craft breweries without reference to other sources we’d probably have mentioned the three in that Tweet plus Tiny Rebel (still going strong), which makes this seem rather concerning.
If we could somehow come up with a list of the UK’s Most Definitely Craft Breweries, how many would there be? And what would the attrition rate look like compared to breweries overall? We’ve a sudden creeping feeling that, with closures at one end and takeovers at the other, it might be noticeably worse.
Or maybe we’re just not paying attention to all the old-school microbreweries that are also folding, quietly, in market towns and villages where the neon don’t shine?