In a Post-Craft World, Let’s Just Try Transparency

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My new column in BeerAdvocate Magazine this month is out and has already sparked some heated exchanges on Twitter.

I’ve always been a drink whatever I like kinda consumer, basically drinking something that interests me or hopefully just tastes good. Beer politics are always fun debating among buddies but it doesn’t often influence my beer choices. I drink local, I drink foreign, I drink big and small, and sometimes domestic big brewery lager is the call to make. But we’ve seen some recently acquired craft brands and owners pulling some squirrelly shit, trying to deny what they are and who they’re owned by. Thus, this column.

If you’re a Big Beer-affiliated brewery, own that. Don’t hide it. In your company’s “About Us” or “Brewery History” page online, don’t omit that AB InBev owns you as almost every formerly independent and now High End brewery does. Don’t play cute about it with the press. Stop telling consumers nothing has changed. Anyone saying that is either lying or negligently naive.

So check out the column and feel free to hit up the entertaining BeerAdvocate comments section. It’s also Plus a particularly sweet illustration by the man I’ve never met but who always has my back and I owe a few beers, Chi-Yun Lau. Also check out his insta and Twitter.

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Sixpoint Pulls Out of ABInBev Associated OctFest, Others See Value

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A new beer and music festival, run by an online publication receiving financial support from Anheuser-Busch InBev, is stirring up some controversy among craft brewers.

In January, the online music and culture magazine Pitchfork announced that it was partnering with ZX Ventures, the venture capital arm of Anheuser-Busch InBev, to launch a new online publication. The new site, called October, focuses “on beer with an editorial perspective that speaks to a new generation of beer drinkers,” according to its initial press release. At the time of its announcement, many speculated that October would also produce events, akin to those hosted in the music sphere by Pitchfork. The speculation turned out to be true.

After its initial release, many in the beer and media industries (myself included) criticized Pitchfork and October for their failure to more obviously disclose their ties and funding from Anheuser-Busch. The dust-ups over Anheuser-Busch’s play in the media sphere, with October, the Beer Necessities site, and its recent purchase of, continue to evolve online.

Yesterday, Pitchfork and October announced its first major event, OctFest, a one-day beer and music festival scheduled for September 9 in Brooklyn, New York. Announced artists include Guided by Voices and Charles Bradley & His Extraordinaires. The press release also boasted attendance by forty breweries from around the world, including locals Peekskill, Threes, Sixpoint, and Braven. The fest’s website lists twenty breweries with additional attendees to be listed later.

The fest’s website notes that October and Pitchfork are sponsoring the event but does not mention the role Anheuser-Busch InBev plays in the publication or event.

I reached out yesterday to the attending breweries to learn more about their participation in the new festival. The first to respond was Shane Welch, founder of Sixpoint Brewery in Brooklyn. Pitchfork and October specifically name-checked Sixpoint in their press release promoting the festival. Welch was initially skeptical that his brewery had agreed to participate in the festival, noting that “Sixpoint has a 14 year history of being very selective about which beer fests we attend, and even back in the day we boycotted several large fests based on ethical reasons.”

After checking with his events team, Welch confirmed that Sixpoint had been invited and initially agreed to attend the event but noted that his team didn’t understand who was backing the festival. “The team was not aware of the insidious nature of ZX Ventures, or ABI’s infiltration into media, beer-rating sites, and now (apparently) events as well,” he said.

Unaware of Anheuser-Busch InBev’s financial support of fest sponsor October, Sixpoint’s events team saw an otherwise worthwhile marketing opportunity. “We did not pay any of their sponsorship fees, but consensus on our end was that it was okay to pour beer and align with the music, Pitchfork, and other local breweries for sampling opportunities if they bought the beer and participation doesn’t cost us anything,”” says Welch.

After considering Anheuser-Busch InBev’s involvement in the project, however, Welch quickly decided to pull out of the festival, saying “We would rather drive up to Portland, Maine and pour at a real beer fest.”

Another responding brewer was unaware that his brewery was listed as attending. “Honestly, we aren’t familiar with the event,” says David Katleski, president of the Empire Brewing Company in Syracuse, New York. Katleski offered that his distributor may have committed the brewery to the event and agreed to look into the invitation.

Other brewers who responded were also cognizant of possible issues relating to the involvement of Anheuser-Busch InBev but ultimately saw value in attending the event and meeting with music loving consumers.

Bill Butcher, founder of the Port City Brewing Company in Alexandria, Virginia, noted that “we saw that many other independent breweries were participating, including our good friends at Schlafly and Empire, and it looked interesting. It also looked like a good opportunity to promote our brand in New York, which is our second biggest market.” The choice of bands also played a role in the brewery’s decision to attend, he noted. “We also have a couple of coworkers who are big fans of Guided By Voices, who want to attend.”

Keith Berardi, owner of Peekskill Brewing, says that representatives from Pitchfork originally approached him a few months ago about attending the festival. “We let it sit for a little while and then a month ago they asked if we’d participate and we agreed,” he says. Berardi acknowledges concerns over attending an event related to a major brewery sponsor. “We’re a fiercely independent craft brewery,” Berardi says. “We’re not associated with any large producer of any sort. But we don’t think that participating in a festival necessarily means we’re associating directly with InBev.”

“We try to be thoughtful about the fests we associate with,” Berardi says. “There was more thought that went into this one. There’s divided and strong opinions about October and other participants. For us, originally the thinking was that we love music and thought that a festival that had music as large a part as craft beer was a good idea.”

“The other piece is that we’re not scared of getting in front of that crowd,” he says. “We believe we can’t win over beer drinkers that we don’t put ourselves in front of. We look at it as an opportunity to get in front of these drinkers and turn them on to Paramount Pale Ale or Skills Pils.”

With these opportunities in mind, Berardi also acknowledged his brewery’s challenging relationship with Anheuser-Busch in particular. “Peekskill is a Budweiser town,” he says. “We know all about being shut out of events in our own city. We have a theater up the road and every owner of that theater says they want to pour our beer but the Bud distributor nixes it. We’ve always found it’s better to get yourself in front of the person who thinks Kona or Goose is what craft beer is and have an opportunity to show them what we do. If you don’t take the chances and expose yourself, you may never get a chance to.”

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The Increasingly Heated Debate Around Contract / ‘Gypsy’ / Resident Brewing…

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Fresh back from the annual Craft Brewers Conference in Washington DC, I am struck by the looming tension and sense of anxiety presently bubbling to the surface in this industry. The conference played host to a number of interesting seminars and a few fairly repetitive ones. Mixed among the nearly 100 offerings were multiple courses on how to deal with trademark and intellectual property related issues, including litigation, and a panel on why attendee should not open a brewery (in reality, it seemed pretty pro-brewery opening if you ask me). One refrain that continued throughout the event was the anxiety over the continued and seemingly unmitigated growth of craft brewers, specifically in the number of breweries at offer. Forecasts of shelf space fights and tap tussles seem apt and the established brewers are starting to let their protectionist and curmudgeonly ways show. I heard a lot of “Get off my lawn” comments from craft brewers, both on panels and in bars, a lot of analogies to poorly rooted trees and less charitably to Third World buses. The common takeaway was the growing sense of unease at the caliber and intent of these aspiring and new brewers and what impact their entrance might have on craft beer generally.

Closer to home, the issue came to the forefront today in the post of Cambridge Brewing Company’s brewmaster, Will Meyers, who added an entry to the brewpub’s blog celebrating his 20 year anniversary at my hometown brewpub. Before I get into the story, I wanted to first say two things. I want to wish Will (and his wily boss Phil Bannatyne) a hearty congratulations at this impressive achievement. Cambridge has built an impressive name for itself and largely due to Will’s hard work and dedication, along again with the continued guidance and presence of Phil and the rest of the team. For my second point, I want to note that I consider myself friends with every person appearing in this story. While loyal readers may not believe this, I actually don’t really have a position on the issues involved here, which I suppose I may later discuss.

In any event, Will’s post on topics including contract brewing lays out his history and the pub’s achievements before, as is relevant here, laying out a position on some of the issues described above from the conference. The important thing to note here for purposes of context is that the Boston area has not seen the explosion of growth that you are likely witnessing in your hometowns. Rents are incredibly expensive and available industrial spaces nearly non-existent. Instead, Boston and its environs has seen a pretty substantial number of individuals and companies bringing beers to market that are made in breweries that they do not own. Historically, this practice was called contract brewing. In the early days of craft brewing, that became a bit of a pejorative, often cast in the direction of the Boston Beer Company. Today, the practice can be called resident brewing, alternating proprietorship, or somewhat offensively, ‘gypsy’ brewing. Whatever phrasing you choose, the practice is again becoming increasingly controversial, sometimes for reasons I can’t quite grasp. And it’s hard to say exactly who qualifies under which of these offered monikers.

In the modern craft era (say the last seven years), this practice appeared to start with the appearance of the eclectic Danish brewer Mikkeller, that, depending on the account you hear, would travel to breweries around Europe and beyond to produce beers on other people’s systems. Using excess capacity built into the global brewing system has a certain understated and elegant efficiency about it. If there is space available, why not use it to go in a very different direction than that of the host brewery? The practice gained some traction, resulting in similar approaches by Stillwater, Evil Twin (from Jeppe, brother of the individual behind Mikkeller), and others.

In New England, we have seen everyone from stalwart industry vets to individuals with absolutely no experience try their hand at the brewing game. Whether this involved participation in recipe formulation, brand and media direction, involvement in the brewing process, or actually directing the brewing and cellaring, each individual and company appears to fall into this hard to define categories of contract / gypsy / resident / altprop.

Getting to back to Will Meyers, his post touched on his personal feelings about this trend in New England, which is likely to grow with the addition of a massive new brewery operation in Connecticut and another planned operation by a local beer bar owner. I found his piece to be interesting for a number of reasons, none the least of which is his not-so-veiled shots at some people in the local industry. I am including Will’s piece here in full.

Following his piece, Jeff Leiter (note, as I said above, that he is also a friend of mine), of the local Somerville Brewing Company, Inc. aka “Slumbrew,” provided me with his response. As I noted, I haven’t really developed much of a position here, though I have historically focused more on the quality of beer than where its made and by whom (if my thoughts on Blue Moon weren’t proof enough). These pieces provide for interesting reads and it’s the kind of discussion that I would like to see more of in this sometimes too-chummy industry.

First, here is the relevant excerpt from Will Meyers, brewmaster of the Cambridge Brewing Company.

By making Craft Beer welcoming to all by design, we’ve made it a desirable industry in which people want to play a part. This includes the inevitable number of beer marketing companies, aka contract brewers (a few of whom call themselves “gypsy brewers”), who either feel that there’s money to be made in this fad or who genuinely love craft beer but don’t want to invest the capital in their own brick and mortar breweries. This lack of skin in the game shows me that they value short term gains over long term personal investment and hard work. And I truly believe that there is no such thing as a gypsy brewer. In fact I know of only one couple, our friends at Pretty Things, who “reside” at another brewery but who actively create every drop of their own beer, each and every brewday. There’s a big difference between having that level of commitment and integrity, and claiming to be a “gypsy” because you occasionally show up at a brewery on days your beer is being made for you. If you’re not there, every time, doing it entirely yourself and if there are other people physically making your beer for you (sometimes in your absence), you’re simply not a brewer in my book. It’s more than just cutting open some bags of grain or making a ceremonious addition of hops or cacao nibs or some other exotic ingredient and Tweeting about it. I’m sorry if that offends some folks, but this is something that our industry – producers, retailers, consumers, everybody – will need to struggle with as time goes on. The Brewers Association made a valiant effort over the past year with their Craft Vs. Crafty campaign, exposing to the general public the lengths to which the international macro-industrial brewers are going to obfuscate the origins behind “fake craft” beers like Shock Top, Blue Moon, etc. Unfortunately we are always reticent to take a look at the fingers pointing back upon ourselves, so we fail to give the consumer the opportunity to understand the differences among us – those who make beer, and those who just place orders for “their” beer, and the inevitable grey-ish line of separation.

Here is Jeff Leiter, Somerville Brewing Company, Inc. aka “Slumbrew, “Somerville, Massachusetts, and his “Response to contract brewing critics.”

Something about springtime makes brewers maybe a little more introspective than they should be. I remember 20 years ago I was thinking about leaving my Somerville apartment for a new adventure. Before I could leave, I got into graduate school at MIT which secured another two years and, well; it got hard to leave a place I called home. My wife Caitlin and I both have entrepreneurial upbringings, so it was a natural fit back then for us to set out on our own to build our first company that is, in its broadest sense described as “marketing”, nearly 14 years ago now. We learned a great deal about business, running a company, managing a staff of over 15 people at times and developing brands for other businesses. But perhaps the most rewarding part of those years was the ability to travel and observe something we were passionate about: the creation of small batch beer as an artisanal product in this country.

I just got back from attending the Craft Brewers Conference in Washington, DC last week. Things look dramatically different today than they did when visiting breweries a decade or so ago. There has been a near exponential rise in the number of breweries opened in 2012 and now an unprecedented number of breweries-in-planning for 2013. The leadership of the national organization of craft brewers, the Brewers Association, is cautiously exuberant over the growth: Finally, their constituents are earning a recognizable share of overall beer sales in a market long dominated by macro brands! The tradeshow floor had more vendors selling raw ingredients, stainless steel, kegs and beer packaging than I can remember at any previous conference. All is good, except, for some, it’s set against a background voice saying this is all too good to be true, and the industry, as a whole, can’t sustain this kind of growth. Maybe, Maybe not – but this is certainly uncharted territory for the craft beer biz.

The business of making American craft beer, especially in the last 5 years or so, has often been veiled in a mystique of the brewer’s art. This is partly for the benefit of consumers as they take satisfaction in knowing the liquid they are drinking is a product of complex processes guided by a skillful hand(s). But in a few unfortunate cases, the veil is more refined by some individuals and developed mostly to protect the fragile ego of someone who has come to rely on the title of “brewer”. My role at Somerville Brewing Company is quite a bit more sober. It would be an envious job if my responsibilities provided for dedication to just the brewing aspects of the business. Indeed, as a small company, I have an enormous range of obligations from finance, managing wholesaler logistics, inventory, and ingredient procurement all the way down to arranging who might attend what bottle shop tasting. Thankfully, we have a great team and wonderful group of supporters we call Slumbassadors to rely on for much needed help. However, the best part of my job is still doing what I initially got into this for – to produce beers that I develop from concept, ingredient selection, test batches in my small pilot brewery to their final production at Mercury Brewing Company.

Certainly one side effect of the recent surge in new breweries is there is more product available. This is a boon for consumers who can now sample a different style or approach every day of every week and never have the same beer twice. With the exception of flavored water and candy, I can’t think of any other consumer products that offer that opportunity. The down side is that many brewers feel a pinch in market share they once dominated, or thought they could dominate. Whereas a few years ago, one brewer may have been the only game in town, they now find themselves among other bottles on a retail shelf. To those of us with a more mature perspective on business, we call this friendly competition. Some of the best advice I’ve received has been from people you might call “competitors”. When the entire segment of craft beer is only approaching 7% of the US beer market, it’s almost absurd to describe other folks in the industry as a threat. Sadly, other brewers internalize the presence of other brands in their local area or the arrival of new brands by people that did not chose the same career lifestyle 20 years ago as an attack on their “brewer” sovereignty. And so, instead of stepping up to lead in a time of exciting expansion, they resort to embarrassing public infighting and attacking members of their own industry.

Some of this is being played out with the recent, yet perennial debate over contract brewing. The latest thinking goes that contract brewers are less genuine versions of a true brewer and are merely engaged in covering up mediocre beer with marketing shtick. A simple beer marketing company has a lack of “skin in the game” over brick and mortar breweries, and don’t want to invest their own capital. As one of the leading grandstanders of this position recently said, “This lack of skin in the game shows me that they value short term gains over long term personal investment and hard work.” Although I will never question the integrity of those who choose to earn a paycheck over setting out on their own, the irony of this coming from someone who achieved their entire status in the brewing world as an employee is overwhelming. It’s also astounding to call other brewing businesses as disingenuous for their lack of capital resources from the safety of a weekly paycheck and staff payroll/equipment financed by someone else. Although, we at Somerville Brewing currently rely on what is technically defined as a contract brewing relationship, it’s downright laughable to think we have neglected to smack down any skin for the “game”. From the personal guarantees and cash outlays to achieve our float of over 1,000 kegs in the market, to the near 90 hour work weeks we spend building our business without a paycheck every Friday – it’s a story that resonates all too well for anyone starting a business in craft beer. The ultimate irony comes from the fact that one of the pioneers of the craft beer movement, Jim Koch, started his business in nearly the exact same fashion; as did our friends at Brooklyn Brewery and many other breweries both now and in the early years of craft beer.

Others have tried to stratify real brewers from less-real brewers as well; though consistently these attempts seem to originate from those who have been in the industry a while or actually own a brewery that might need to work harder to maintain market share. And, a recent (outrageous & pathetic) attempt to tie contract brewing with the crafty side of the Craft vs. Crafty commotion put out by the Brewers Association ended with the accusation that contract brewers just ‘place orders for beer’. No doubt, with an industry seeing the current levels of growth, some individuals see opportunity and, albeit misguided, paths to a quick buck in a hot business. Those that helped shape the industry over the past ten or even twenty years see the newcomers as just opportunistic. In some cases, this is a rightfully deserved perspective. At other times this is simply a deviant and undignified brand strategy to promote their own products over others; a strategy beneath even the marketing companies.

In the end, do the actual people that like our beer and buy our bottles or draught make their decision to support us by whether I checked the gravity on the 2nd day of fermentation at 10:30am? If I am personally not present to transfer our Flagraiser IPA from primary fermentation to a brite tank, will it taste less genuine? I am overseeing the production of our beer on nearly every brew day and key points in the production process to meet my quality standards, but like my other colleagues, I value the care and contribution of the talented staff at Mercury Brewing that work with their equipment to achieve my results. How is that different than virtually every other brewery, including the little local pub that employs a division of labor for the day-to-day production of beer? One old-timer recently put it as follows, “If you’re not there, every time, doing it entirely yourself and if there are other people physically making your beer for you (sometimes in your absence), you’re simplyff not a brewer in my book.” Not only is this statement outrageously myopic, but contradicts his own process. Whether I brewed our beer entirely with my own hands, worked as a tenant brewer to use someone else’s capital investments or worked with the brewers and cellarmen at Mercury to produce Slumbrew, my goal is to produce the same quality product. I depend on that so my customers continue to buy our product and support our brand.

It’s been no secret that we are actively working towards setting up our own small brewery in Somerville. With this endeavor, we will surely sign more promissory notes and personal guarantees that are so highly acclaimed as a badge of honor to some brewers. Our sights are set way above the pettiness of critics though, who in the absence of genuinely positive contribution to the growth of our industry, choose to base their product marketing strategy on consumer confusion, industry division and false definitions of “Craft Beer”. Instead, our goal is to continue our strategy of producing inventive and ingredient-driven beers our customers like to drink. And as for the brand strategy coming out of our little marketing company: we continue to be focused on making good liquids, spreading goodwill, embracing our charities and making people happy. Our new facility will only strengthen this mission by enabling us to produce even more inventive and esoteric beers while serving as a destination for our customers on a regular basis. This is what it’s all about for us.

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Save Your Money, Westvleteren XII Really Isn’t Worth It…

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The ominous day of 12/12/12 is upon us and it brings to the world of better beer a flurry of special events, including the final release in Stone Brewing Company’s Vertical Epic series. Stone’s ten year aging project will however likely find itself overshadowed by the highly anticipated release of Westvleteren XII, the widely touted and much sought after flagship of the Sint Sixtus Abbey. Located in the western Belgian hop region, near the town of Poperinge, Sint Sixtus was established in 1831 and thereafter began brewing beer to support the monastery. Today, Sint Sixtus produces three beers for public consumption, including Westvleteren 12, often referred to as the World’s Best Beer.

Except that it is not.

As any beer geek would, I sought out this holy grail beer to bask in its presence. I have had the beer in small beer cafes and from bottle shops in various Belgian towns, in the kitchens of friends here in the states, at beer festivals both here and abroad, and while seated at the monastery’s very pleasant outdoor cafe. After getting over the initial novelty, I was at first surprised and then disappointed with the beer. Saving for the wide differences in personal tastes, Westvleteren XII/12 is not a particularly drinkable or even enjoyable beer. I will long carry the memory of drinking the beer while surrounded by hop fields growing skywards in the abbey’s pastoral setting, but I remain surprised at the depth of my disappointment with the 12’s flavor. It’s not even near the top ten or fifteen quadrupels that I’ve had. Of that style, this is what I wrote in my book, Great American Craft Beer:

A curious style inspired and influenced by Belgium’s Trappist monk brewers, the Quadrupel is a potent, herbal, and bready style that boasts considerable alcoholic warmth and fruit complexity. American versions are often modeled on the classic Belgian versions, including the legendary Westvleteren 12. Dark amber to deep brown in hue, boozy alcohol notes swarm the nose, mixed with rich, phenolic yeast notes and dark fruit hints, including plums, cherries, and figs. Often aided by the addition of Belgian candi sugar, which ferments quickly, Quadrupels reach soaring alcohol heights of 8 to 12-percent. Despite these numbers, the style is surprisingly dry, as is common among other Belgian beer styles and a high carbonation level keeps everything in check. The texture is unusually light and medium-bodied, especially compared to the more cloying Winter Warmer and Barleywine styles, and the multiple fermentation cycles fight against flabbiness. Creamy and bready sweet at times, the nuanced phenolics and fruit flavors result in a particularly challenging slow sipper.

When even relatively young, Westvleteren XII is surprisingly sharp. It can be mildly phenolic and there is an underlying wash of malt sweetness that fights to come through. But it is all pummeled into submission by a lurking and quickly invidious yeast bite and bitterness that overwhelm the beer and destroy the finish. On my last visit to the monastery cafe, I ordered the Blond, the 8, and the 12. Of these beers, I personally believe the Blond is the unheralded star of the lineup, managing a beautiful balance of bitterness and malt character. The 8 is a pleasant sipper. And the 12’s for my companion and I sat half-consumed, abandoned castoffs.

The release of the Westvleteren XII today, at a cost to consumers of at least $85 per six pack, will certainly spark mad fervor among beer geeks, and that is understandable. There will be lines out the door of local liquor stores until the clock strikes the opening hour. Hype and novelty drive excitement and prices and that is understandable. And while you can quibble with how the beer is being allocated or sold, or decry how it will be hoarded and then likely resold, it remains a beer geek merit badge of a beer. For that reason, the exercise of experiencing a holy grail beer, it may be worth going in on a six pack with friends. But if you’re looking for an excellent quadrupel, a beer to really enjoy, you already have dozens of better and considerably less expensive options close to home.

With all of this said, I’d recommend you try or revisit Rochefort 10 or St. Bernardus Abt 12, which are much better values and remain eminently drinkable examples of the style. In terms of local options, several American breweries make solid versions of the style, including the Abbot 12 from Southampton Publick House, the Grand Cru from Green Flash Brewing Company, Baby Tree from Pretty Things Beer & Ale Project, Quadfather from Iron Hill Brewery, FOUR from Allagash Brewing Company, and The Sixth Glass from Boulevard Brewing Company.

My advice: save your money, head to Belgium one day, and try the beers for yourself at a fraction of the price.

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