Show Notes
Nick Ravenhall doesn’t think he’s a New Zealand whisky maker. He’ll tell you that himself, in the same breath he uses to name-check Mat or Rach Thomson, Mark and Ro on Waiheke, and a list of others he’s careful not to leave out. But he is one of three ‘washed-up bartenders’ collecting awards and redefining the playing field in New World whisky. Woven Whisky landed back in New Zealand last month — second time around, but this in 700ml bottles. We sat down at the tail end of his trip home to talk about what’s actually happening underneath the hood and making blended whisky such an exciting place to make whisky right now: the structural argument that makes blending — proper, contemporary, world-spanning blending — the format that meets the moment the industry is in. Because whisky is genuinely strange right now. “There was an upswing in the purchasing of bottles,” Ravenhall says of the bubble, “but I don’t think there was the upswing in consumption to keep consuming all the extra bottles that people were buying.” Somewhere around 2012, Scotch — and then much of new world whisky riding the same wave — started being a thing you bought, collected and talked avbout more than you drank it. Cask releases stacked on cask releases. Small batches stacked on small batches. New releases every month, each one as collectable as the last. China running hot on Western premiumisation. Then COVID struck, where everyone went home and bought the bottles they’d been meaning to try, just to pass the time. And the whisky makers, beholden to forecasts built on all of that purchasing, kept making. What no one had clean data on was whether any of it was being drunk. Sales reports showed movement. You know I talk about this a lot. Depletion reports — the actual re-orders, the rotation through retail, the second and third bottle bought by the same household — were a different story. “All you have to do is see a new release and just scroll down the commentary,” Ravenhall says, on where customers landed. “They’re like, not another blah, blah, blah, blah.” The current correction isn’t really a whisky problem but there’s definitely a trust problem with whisky pricing among enthusiasts. Value for dollar dram videos flood YouTube. Customers haven’t stopped drinking. They haven’t even stopped seeking out the unicorn bottles, but the promise on the label has to land in the glass. Which is where Woven, offers an incredibly well-timed offer to the market. “As a blender,” Ravenhall says, “we have the extreme privilege of not being distillers.” A distiller wanting to try something has to make it, fill a cask, and wait three years minimum, six or seven before the liquid does what they hoped. A blender can buy something today and put it in a glass tomorrow. No three-year capital lockup on every experiment and no forecast built on whisky futures, in a world where value continually goes up. What that unlocks, when you do it well, is a flavour proposition no single distillery can offer. Pure Malt, the blend Ravenhall and I tasted through, takes a Sherry-led Speyside heart and layers it with single malts from Starward in Australia, Kavalan in Taiwan, Paul John in India. “If you as a customer wanted to experience those three other things, you’re going to be buying three other bottles at north of $100. Are you going to do that? Not ever.” For a while now, blends got left on the bottom shelf at the UK’s Tesco for £18, while every distiller and their distributor chased the cask-strength single malt premium. The category that is actually solved a price-and-discovery problem for the modern customer was the category nobody was really paying attention to. Woven came into being in the gap. Sure, three washed-up bartenders — Nick’s words, not mine — turning up to blend at the level Scotch holds blenders to is a high bar. The first couple of years, he says, were just figuring out whether it could work at all. The next couple were realising they had to change how it worked. They’re f
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