Last year we wrote a piece for CAMRA’s BEER magazine about British beer drinkers obsessed with Belgium and Belgian beer.
It was great fun to write and involved interviewing and corresponding with some fascinating people, pondering some intriguing questions — what part did Eurostar play in all this? How will Brexit influence it in future? What the heck is ‘Burgundian Babble Belt’?
If you’d like to get advance access to this kind of stuff (we write two or three things for the Patreon feed every week), and want to tell us which beers to taste, among other perks, then do consider signing up. It’s dead easy and really does give us an enormous boost and encourages us to keep this madness up.
We asked our Patreon supporters which beers we should order from Honest Brew earlier this year and Paul B suggested we try bottled beers from Orbit.
We bought one of each available from Honest Brew at £2.59 per 330ml bottle and sat down to try them, paired with some trashy TV, on Sunday night.
We had no particular preconceptions about Orbit and couldn’t recall if we’d ever tried any before. We definitely hadn’t heard any of the trusted London beer commentators raving about them which made us suspect they might not be in the top rank but the packaging was smart and the choice of styles interesting so we went in feeling mildly optimistic.
Now, a confession: once again time slipped away from us and Ivo, the pale ale at 4.5% ABV, had slipped past it’s best before date. It was bottled in October and had a tight six month BBE so it doesn’t seem fair to offer any notes, except to say that it neither delighted nor appalled us, and we aren’t averse to the idea of trying a fresher bottle or draught half some time, especially as the new head brewer at Orbit has tweaked the recipe.
Neu, a take on Düsseldorf Altbier at 4.7%, intrigued us. Alt is a somewhat elusive style about 80 per cent of the appeal of which is the culture and history surrounding it. Take that away and you have a fairly low ABV, straightforward brown beer that sits, in terms of character, somewhere between British best bitter and German dark lager. This example was brown but with flashing highlights of gold and orange, pleasingly clear and bright under fluffy white foam. In our one surviving souvenir Altbier glass it looked, at least, utterly convincing. The flavour, too, was impressively clean, with a crisp bitterness. There was a suggestion of roastiness in the flavour but no sticky toffee which made us think the colour was from black malt rather than the caramel-crystal family. Overall, we liked it, even if — true to type — it was a fundamentally simple, unthrilling beer. If you’re learning about Continental beer styles and want a solid example of Alt, this would certainly do the job, and tastes better, we reckon, than most of the readily available big name imports.
Peel is a Belgian-influenced blonde ale at 4.3% — an emerging sub-style in UK brewing which we tend to like, with Belgian yeast adding welcome extra layers to otherwise simple, low ABV beers. This one was a clear, bright gold, and gave off a powerful Witbier aroma of citrus and the spice cupboard. The dominant flavour was a big squeeze of strangely artificial-tasting lemon, beyond which was something like an English golden ale with the bite of honey. It felt thin and watery rather than light and dry; harsh and jarring where we wanted soft and funky; and cacophonous rather than complex. In other words, we couldn’t tell you exactly why it didn’t work for us, but it didn’t, and we can’t imagine buying it over many actual Belgian beers.
So, two beers in, one solid, the other not to our taste, Orbit go on to the Benefit of Doubt list rather than Avoid.
In the summer of 1991 The Times’s food critic, Jonathan Meades, took a break from visiting upmarket restaurants to investigate a new eatery that was generating a strange amount of buzz.
He found it ‘chaotic-looking and very noisy’ and was lukewarm about the informal set-up: no bookings, order at the bar, lunge for any available seat before anyone else took it. The customers around him were young, though, and seemed to like this kind of thing. The food wasn’t refined but it was good value, generously portioned, very much in line with the ‘rustic’ style then in fashion. He duly filed a review of the Eagle in Farringdon Road, North London, which was not far from glowing.  Something interesting was afoot but, for the moment, the language lacked a word to describe this collision of gastronomy and the public house.
The founders of what is generally recognised as the first gastropub were Michael Belben and David Eyre. They had worked together at several restaurants, mostly recently Mélange in Covent Garden, Eyre as a cook, Belben in management. In a portrait photo taken in 1990 they look like members of a synth pop group – slim, moody, Belben in a dark suit, Eyre in cotton shirtsleeves.  Belben is older, born in 1952, while Eyre, born in 1961, grew up largely in Mozambique and Rhodesia (now Zimbabwe), moving to Britain to attend university. 
They were both keen to start out on their own but, in the meantime, absorbed culinary influences, struggling to reconcile their taste in fine food with their limited funds. Eyre got married in 1989, but came out of that short-lived relationship after 20 months with very little except an idea, given to him by his ex-wife’s aunt: with a recession imminent, opening a restaurant would be foolish, she argued, so why not run a pub? She hadn’t meant a pub with food, but it was the spark Eyre and Belben needed. Why not open a pub with decent food, catering to people like them who longed, but couldn’t afford, to eat at places like the then super-hip River Café?
Fortunately for them, a catastrophic change to the British pub ownership model was underway. In 1989 the UK government passed a bill which meant that breweries owning more than 2,000 pubs would be required to dispose of half of the excess. This act, known informally as the Beer Orders, meant in the first instance that the largest brewers had no choice but to dump a large number of their worst-performing pubs on to the open market, or sell them en bloc to other firms. In this respect, as food critic Jay Rayner has said, ‘the gastro pub movement is a pure product of Thatcherism’.
The Eagle was an unremarkable Victorian corner pub in Farringdon, then a rather unfashionable part of London, and was owned by the astonishingly unfashionable brewery Watney’s. For a brief time in the 1980s it was a freakish hangover from the theme pub era – a ‘fun pub’ decorated with metal furniture, exposed pipes and bare breeze-blocking so as to resemble a nuclear bunker.  (Fun indeed.) When it was unloaded by the brewery in response to the Beer Orders, Belben and Eyre took it on, describing it as ‘the first and cheapest dead pub we found… But beneath the sad grime we could see an attractive, if small, room with huge windows and maple floor’. 
They paid for it with a combination of bank loans and money borrowed from family, got the keys on 18 December 1990, and undertook renovation work themselves, scrubbing it back to an almost bare minimalism and letting the light flood in. Michael Belben fitted it out with, as food writer Diana Henry recalled in 2003, ‘mismatched china, battered furniture, sagging sofas and a few lamps with wobbly shades’.  They operated at first, from 16 January 1991, with an 8 by 5 foot kitchen containing a microwave, fridge, grill, two burners and a sink, none of professional standard. In the flat above the pub, where Eyre also lived, they used an oven to prepare one or two shareable dishes in pots, such as casseroles. Twenty years on, Eyre recalled their working relationship:
Mad Mike. Mike was prone to be a bit crazed at any time. But you see, he did get it and he was very good at… [pause] I got all the glory, but he was very good at trudging down to the bank and getting the float and spending hours and hours in the office… Not the best people person sometimes. Infuriating sometimes. I mean, we did have some blinding arguments… But we were good. It was that kind of opposites thing.
Belben and Eyre have always emphasised their democratic intentions, underlining what to them were key signs that the Eagle was still a pub:
It was important that a table could be used by people in muddy boots drinking lager as much as by people who’d come to the best place to eat ribollita. It was very egalitarian – a great leveller. You’d have the editor of the Guardian next to a builder, next to a fresh-out-of-school graphic designer. 
There were no reservations for tables, no dress code and, they insisted when challenged, customers could just turn up for a drink – dining was not compulsory. ‘It was the Anti-Restaurant Thing that we sort of embraced wholeheartedly,’ Eyre would recall in a series of recordings made in 2011 by Niamh Dillon for an oral history project:
No uniforms, chefs wore fisherman’s smocks… Mismatched plates, the no starters, the no desserts, the one-course eating, the old fashioned portions of the food, the fact that there was no service – if you wanted to tip a member of staff you bought them a drink. 
The comedian and broadcaster Graham Norton worked with Eyre and Belben at Mélange and considered Belben ‘one of the most heterosexual men I had ever come across’ but ‘impossible to work for’,411 a friend and a mentor. He joined the waiting staff at the Eagle where, freed from the obligation to kiss-up to earn tips, he enjoyed being rude to customers:
‘A smile costs nothing,’ a customer who’d been ordering in dribs and drabs and therefore irritating me would say.
‘And intelligence can’t be bought,’ I’d retort. Why nobody rabbit-punched me I don’t know. 
From the customers’ perspective this kind of thing meant that the Eagle could sometimes be faintly intimidating, despite its founders’ avowed desire to create warmth and conviviality.
In the same 2011 recording Eyre explained that the Eagle was able to operate with a lower mark-up on food than restaurants proper – 60 per cent gross profit rather than 70 or 75 – because there was no air-conditioning, no linen, and the kitchen staff, having less formal training, would work for less. Until 1997 even the most expensive items on the menu cost no more than £10 (about £20 in today’s money) and, Eyre said, students or younger office workers could go to the Eagle and have something substantial and well-made for only ‘twice the price of a sandwich in a sandwich shop’.
At its best, the atmosphere was lively and, at its worst, when hype brought crowds of would-be diners into a venue with no table bookings, it could be loud and chaotic. The background music was directed by Eyre’s older brother Robert, who worked there for a time and had a large, quirky record collection: ‘I really do believe my brother was the first person to buy Buena Vista Social Club.’ There was world music, jazz, blues, but definitely, pointedly, no guitar-heavy classic rock.
There was a problem with all this. In a January 2016 interview with Susie Mesure marking the 25th anniversary of the Eagle’s opening Eyre said: ‘We weren’t really pub-going people, because pubs didn’t seem to answer our needs’.  And therein perhaps lies the source of much of the irritation that gastropubs would go on to generate in the decade that followed among those who were dedicated ‘pub-going people’: they were seen by many as middle- class colonisers taking over pubs and, in the process, denuding them of their essential ‘pubness’. In practice, to drinkers, the Eagle looked like an informal restaurant rather than a pub with food and, even if it was theoretically possible to turn up and just have a drink, the pub soon became so hip it was impossible to get in the door anyway.
Jay Rayner, reflecting on gastropubs in 2001, said, ‘It is hard to overstate the importance of The Eagle… When it launched in the early 90s, the idea was extraordinary, if not bizarre.’ He also pointed out that, though much of what the Eagle did had by then become to seem clichéd, in 1991 it seemed ‘nigh on revolutionary’, inspiring many imitators, often founded by people who had themselves worked at the Eagle. 
 ‘Popped in, pigged out’, The Times, 3 August 1991, Saturday Review supplement, p.27.
 Reproduced in the Independent, 9 January 2016, pp.20-21.
 Biographical details for Mike Belben from Debrett’s, retrieved 26 May 2016; and for David Eyre from 2011 oral history recordings, ‘Eyre, David (1 of 10)’, Niamh Dillon, Food: From Source to Salespoint, British Library.
 Correspondence with veteran pub-goer Ian Worden, 14 June 2016.
 Big Flavours, Rough Edges, David Eyre, 2001, p.8.
 The Gastro Pub Cookbook, p.6.
 ‘20 Years of the Eagle Interview’, Liz Edwards, Clerkenwell Post, 2011.
 ‘Eyre, David (6 of 10)’, Food: From Source to Salespoint, British Library.
 So Me, 2004, pp.74-75.
 ‘The Eagle: Britain’s first gastropub celebrates its 25th birthday’, Susie Mesure, Independent, 9 January 2016, retrieved 17 March 2016.
 ‘Fox Hunting’, Observer Magazine, 22 July 2001, p.49.
Lyon was born in London in 1889 and worked with early automobiles as a youth. In the 1920s he was a pioneer of coach trips to the Continent, driving tourists around in a 10-seater Ford Model T charabanc. After World War II he entered the hotel business, starting with The White Cliffs in Dover. Something of an Americophile, his dealings with Americans during and after the war gave him the idea that Britain was deficient in hotels designed specifically for motorists and so, in 1952, approaching pensionable age, he set off to tour the US visiting more than 2,000 motels on an epic road-trip. He picked the brains of American moteliers and came back ready to implement his own take in the British market.
Each room in The Royal Oak motel had its own private garage and en suite bathroom. The larger suites had their own sitting rooms. For between 21s and 27s 6d per person (about £30 in today’s money) you got a Continental breakfast, a radio, a tea-making machine, telephone, a water dispenser, and your car washed and valeted.
Beer is inextricably tangled up in gender, and no one understands this better than the women who choose to drink it.Much of its history is rooted in a blue-collar, canvas coveralls-tinged vision of masculinity that’s still evident in almost every aspect of its supply chain; label art commonly recalls Axe Body Spray at best, cartoon porn at worst. Less aggressive but more ubiquitous is the practically algorithmic aesthetic of craft beer bars, with their warehouse-industrial interiors and a Ron Swanson-esque penchant for rough-hewn wood and leather, evoking a nostalgia for a time and place where Real Men and their work-calloused hands made things.