For the 138th edition of the Session Jack Perdue at Deep Beer has asked us to reflect on the wonders of wood.
Back in 2013 we wrote a post reflecting on the role of wood in the ‘rebirth of British beer’, observing that it was making something of a comeback:
More significant, perhaps, is the recent obsession with ‘barrel ageing’, derived from Belgium via the United States. Though it is not always used quite as Arthur Millard and the other founders of the SPBW might have hoped, hip young brewers positively fetishise wood. At the Wild Beer Company in Somerset, barrels — their source a closely guarded secret — are cooed over like newborn babies: ‘This one was used for Pedro Ximenez — smell it!’
In the past five years, that trend has continued.
It is now all but compulsory for substantial, ambitious UK craft breweries (def. 2) to have permanent wood-ageing facilities on the side: Beavertown, BrewDog, Cloudwater… everyone is doing it.
Wild Beer Co, with wood at the centre and ‘normal’ beer almost as an afterthought, has gone on to win major awards, carving a niche which it shares with an increasing number of other wood-first breweries such as Burning Sky and Little Earth.
In pure marketing terms, wood is a godsend – what better way to signal rustic authenticity? (Even if you fiddle it.)
But what’s interesting to us about all this is that it represents not just a growth in variety but a broadening of the palette (as in artist’s) – another variable, another way to add complexity and depth to even quite simple beers.
Imperial stouts are great and all that but it would quite suit us if the end-point of all this experimentation was a growth in the number of drinkable cask porters and IPAs with just a bit of something funkier blended in, Greene King 5X style.