SHELF-LIFE OF WHISKY

 Does Whisky Go Bad?

There’s this lone bottle of whisky sitting in the pantry for as long as you can remember. It was probably bought in the `90s and sits there since. And sooner or later, you start to wonder: does whisky go bad? Or maybe you have a half-open bottle left from your birthday party last year, and you’re not sure if it’s still any good. It has been in the cupboard for over half a year already, so you expect that it might not taste good. And since you’re definitely not a whisky connoisseur, you’re not quite sure if high-proof liquors go bad or not. You heard they last pretty much forever, but you’d prefer to know for sure before pouring yourself a glass. What you need to remember is the shelf life of whisky depends on whether the bottle is opened or unopened.

Creating a Whisky Display: One of the joys of owning a collection of fine whiskies is the pleasure in showing it off, selecting a special bottle that you have been saving, and sharing its story with like-minded connoisseurs and friends. Too many bottles are unceremoniously shoved into cupboards or abandoned on top of bookcases. Invest in deep shelving or glass display cabinets, or build a home bar to show off the best aspects of your collection. Choose museum-quality lighting that will bring out the gorgeous colours of the liquid without affecting the inks on the labels or warming up the contents.

Display bottles will accumulate dust, so rotate your presentation frequently. Perhaps you’ll want to put up every single bottle from a prized collectable series, an A to Z of scotch or bourbon, or a super-fan shrine to your all-time favourite distillery. If you have space, arrange the whole collection by name, or stratify it by whisky style and country of origin.

How to Store Unopened Whisky: Whisky is stored upright. In contrast to Wine, however, Whisky in unopened bottles doesn't become better (or worse) during storage. Whisky only matures in the cask when it has contact with the oak wood. The bottles must be stored upright since the cork doesn't close as tightly as a Wine cork. Whisky corks are designed for multiple use, whereas Wine corks are disposable.

Whisky mustn't be exposed to direct sunlight, since the ultraviolet rays bleach out the colour pigments over time. A bar cabinet or a package protect the whisky from light. That way it's possible to store whisky for more than ten years. However, since tiny amounts of liquid evaporate through the cork, the filling level will decrease over time. You can monitor the liquid level of a bottle by marking the neck on the back with a felt pen.

If you're a collector and want to store whisky for a longer period of time, you have to give more thought to it. First of all, the temperature should be lower than room temperature. The lower the temperature, the less the quantity of whisky that evaporates. An additional cap on top of the cork can also help, but take care that the cap doesn't soil or damage the original sleeve. This would reduce the value of the bottle, as would sealing wax.

Bottles with screw-tops must be retightened by hand regularly since they always loosen on their own, which leads to increased evaporation.

When you store bottles in the basement, you should also protect them from humidity. In a damp basement, the label starts to mould easily. A thin plastic bag is ideal to pack the whisky airtight. But beware! The plastic bag mustn't contain any plasticisers or other chemicals. They could bleach out the label and affect the bottle contents through the cork.

In effect, you should keep the bottle in a dark and cool place, away from sunlight and any source of heat. When it comes to where exactly should the bottle sit, the pantry or a wine cellar are both perfect choices, but the kitchen works too, but on the side opposite to the cooking range. A liquor cabinet is another popular option, but make sure you do not keep the bottle on display, where sunlight can reach it. In wine cellars, make sure you keep the whisky in an upright position, especially if it’s a corked bottle. If the bottle has a plastic cork, then it doesn’t matter which way you place the bottle.

Why Whisky in an Open Bottle Changes Its Taste: An opened bottle sees the whisky behave differently. The taste changes. However, it takes much longer than wine, which must be consumed within a couple of days. Opened whisky has a shelf life of between six months and two years. What happens in the bottle during that time?

First, the alcohol evaporates and the taste of the whisky becomes smoother. Furthermore, the air in the bottle contains active gases that slowly react with the flavour substances of the whisky. How the taste changes can't be predicted. Sometimes it becomes better, but, more often than not, it turns worse.

To prevent these changes, reduce the air contact of the whisky by filling it into a smaller bottle. DO NOT use a decanter. We don't know of any high-quality decanter that is truly tight over a longer period of time. The decanter must have a plastic seal or a ground glass joint. That said, it’s best not to have too many whisky bottles open and to drink those you open within a few months.

How to Seal a Bottle of Whisky: To prevent these changes, reduce the air contact of the whisky by filling it into a smaller bottle. DO NOT use a decanter. We don't know of any high-quality decanter that is truly tight over a longer period of time. The decanter must have a plastic seal or a ground glass joint. That said, it’s best not have too many whisky bottles open and to drink those you open within a few months.

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Kill Them Quickly: Nearly-empty bottles take up precious space; do not get overly sentimental about the last pour rattling around the bottom. You are never going to get that whisky back, so rediscover storage space for new bottles by de-cluttering. Have fun with it: host a dregs party, where everyone commits to helping you finish the last pours, or try your hand at home blending. Tip your last drams into a Mason or Kilner jar, let the liquid marry for a few weeks, and then try the results. You may find you want to keep adding to the mix, creating your own “Infinity Bottle.”

Storing and organising your whisky correctly involves an investment in your time, but once you get in the habit, maintaining your system will be a breeze—giving you much more time to enjoy your whisky. Slainte Mhath!

GLENFIDDICH WITH FOUR NEW SOLERA VAT LAUNCHES

 Glenfiddich Unveils Travel Retail- Exclusive Perpetual Collection

Glenfiddich has unveiled a travel retail-exclusive range called The Perpetual Collection. Brand owner William Grant & Son launched the collection in European travel retail on 01 August 2022 with a global roll-out planned for October, a range of whiskies that are in perpetual motion within vats that have never been emptied. This concept embodies a connection which is a direct line from the past to the future.

The line-up features contemporary artwork by Berlin-based studio ANF adorning the packaging and includes a special variation of six bespoke pieces of 3D artwork, featuring generative art created by code, meaning consumers will have distinct designs of the end product from which to choose. This implies interaction between buyer and seller to examine the variations of the pieces of 3D artwork so consumers can select their favoured design. Once the product moves into the common market as such, interaction may no longer be possible.

A statement from the distillery notes that each successive vat fill in The Perpetual Collection is like a new generation of whisky, building on the past, increasing in character, dimension and complexity. 

This is Glenfiddich’s biggest launch in global travel retail in the last decade – the perfect celebration of the world of travel opening back up. A range of whiskies that never sit still, for travellers always in motion.

The range was crafted through an innovative Solera Vat process. The whiskies were matured within vats that have never been emptied. Each new successive vat fill builds on the flavours of the past, enhancing the liquid’s character, dimension and complexity. 

There is a lot of advertising hype in Glenfiddich’s biggest launch in global travel retail in the last decade, revolving around ‘the perfect celebration of the world of travel opening back up – a range of whiskies that never sit still, for travellers always in motion’. The time spent at the airport is that exciting moment where the adventure starts and those flying will get something special to enhance their experience and remind them of their travels. This new range is enticing for all, whether it’s a gift for a maverick loved one or a treat for oneself. The Perpetual Collection offers travellers a unique moment of enjoyment to capture their life that never stands still.

While the Solera ageing process itself has been around for a couple centuries now, it seems like some of the more prominent whisky production companies are starting to rely on this process to age their spirits. Why is this trend happening? What exactly is it, anyway? And does any of this really impact the final product?

Market Dynamics

Whisky might seem like a simple product. Distil a bunch of spirits, chuck it in a barrel, and take it out when it’s done. But the business of whisky production is much more complicated. Because there’s a significant lag between when the whisky is distilled and when it can be bottled — sometimes decades or more — the distillery needs to be able to forecast very accurately how much product they are going to need in the future.

That isn’t always easy. The whisky bubble of the 1960s and 1970s was a hard-earned lesson for many distilleries and a perfect illustration of market forces in action. In the Mad-Men-1950s in the USA, whisky was in short supply with distilleries unable to make enough to meet the rampant demand. As a result, those distilleries started churning out new whisky, stocking it in their cellars expecting to turn a huge profit in a few years. The problem was that by the time the whisky was ready, the market had shunned whisky in favour of vodka and demand plummeted. Distilleries were left with huge quantities of whisky for which they had no buyer, a massive liability and expense, and many of them would never financially recover.

Here in 2020, the whisky manufacturers found themselves in a similar situation to the 1950s. There’s a massive demand for whisky in the market and, while whisky, in general, is doing well, there are specific brands that are doing better than others. The whisky-drinking public seems much better educated about their spirits these days and, as a result, the more highly-esteemed distilleries are selling out almost as soon as the spirit hits the shelves.

The Normal Whisky Ageing Process

Whisky, made the traditional way, is a time capsule in a bottle. It’s a product that was grown, distilled, and casked at a specific point in time (typically, many years in the past). Some distillers never even get to enjoy the fruits of their labour once they put the whisky in the barrel, sending it into the future for future generations to enjoy instead. You can almost feel the fingerprint of the people who made it when you open these bottles.

Especially with bourbon, barrels are brand new for each run of whisky and used only once. The whisky goes into the barrel, the head distiller tastes it along the way, and once the whisky is ready the barrel is dumped out and the contents bottled. Sometimes multiple barrels are combined to make a single run of whisky — but either way, once the barrel is empty, that’s the end of its life in the USA. But it will do the Phoenix act and play a major role in Scotland, Ireland and other whisky-producing countries.

The Van Winkle family owned and ran the Stitzel-Weller distillery during its heyday, and the whisky that they produced is highly sought after by knowledgeable whisky connoisseurs. Sadly, the facility was purchased in 1972 by a company that would later become the British spirits giant Diageo and the plant was almost immediately shut down. Some of the prized whisky that was still ageing in their warehouse would go on to become part of the Crown Royal mix for a while, and other barrels were purchased by the Van Winkle family for their own bottling purposes… but over time, the stocks were depleted.

Recently, Diageo realised that they had let a goldmine slip through their fingers. They only had a few barrels of whisky left at this point — not enough to sustain an operation. Using the traditional methods, that whisky would be used and gone in a heartbeat. They needed a different option, and they turned to the solera method for help.

The Solera Method

With a whisky aged in the normal way, it’s an all-or-nothing kind of deal. Once the barrel is tapped, the entire contents of the barrel are disgorged and bottled. And that is precisely what the Solera method aims to change.

With the Solera ageing method, instead of emptying the entire barrel, only a portion (typically around half) of the contents are removed. The rest of that original product remains behind, and then the newly produced product is added to restore the barrel to full capacity. The mixture is then placed back into storage to age.

This process was pioneered in Sherry Bodegas in Spain; according to that traditional method, a series of casks would be used to gently age the liquid inside. With each cycle, some of the volumes of the oldest casks would be drained off and sold, with the now missing volume being replaced from the next oldest cask in line. This pattern would be repeated, with the younger casks donating some of their contents to the slightly diminished older casks until the youngest cask was reached. There, the newly made liquid would be added to start its way through the process.

Some producers who use this method arrange their casks vertically, such that gravity can assist the flow of liquid from the “young” casks on top finally ending in the oldest casks in the bottom. The word “solera” means “on the ground” in Spanish, referring to the oldest casks on the bottom of the stack.

The idea here is to try and produce a product that is more consistent — more reliable in flavour — than if new barrels were used every time. In theory, each successive bottle should taste almost exactly like the previous one. If done properly this can create a more elastic and consistent pipeline for spirits. When times are a bit slack, the whisky can just stay in the barrels and continue to age. But when the demand ramps up, the pipeline can start to flow once more, with the exact same flavour profile coming out as before.

The problem arises when companies start using this process to add a splash of history to new whisky, especially when it doesn’t come from the same source. This would be against SWA Regulations for a single malt and the new spirit would then become a blended malt.

First, this is the whisky equivalent of the Ship of Theseus. In the early stages, there’s undoubtedly some of that original whisky that comes in each bottle, but with each successive repetition of the process, there’s a lower and lower percentage of that original spirit in each bottle. At what point does the whisky in the bottle no longer resemble the original spirit? When can it no longer be called Glenfiddich whisky? According to the Solera method, this can continue indefinitely, even after the last original molecule of original whiskey has been removed.

The second issue is that the whisky that is added to the barrel needs to be identical in source to the whisky that was removed. It needs to be the same grain bill, the same age/one year younger, and has had the same care and attention given to it. The sherry manufacturers who use this process, for example, take great care to have a series of barrels evenly spaced in terms of how long the liquid has been in each, and regularly rotate that spirit. Three barrels placed one year apart, where half the liquid is shifted every year, produce a continuous and consistent flow of sherry of equivalent quality that’s about three years old. In a situation where there are years of time between the old and new whisky, it’s difficult to imagine that the flavour profile wouldn’t drift away from where it started.

As a way to keep producing high-quality spirits in a more consistent and repeatable process, some distillers are turning to the Solera ageing method to help ride out the spikes and valleys in demand for their product.

Solera Process: Good Or Bad?

Admittedly, this section heading may be a little more conclusive than justifiable. It’s not quite that black and white. The Solera method is just another ageing process, like many others used by manufacturers to age and flavour their spirits. Some ageing processes have better results than others, and much of it depends on the application of the process and what is required to be accomplished.

A distillery doing a proper Solera ageing method for their whisky can undoubtedly produce some fantastic and consistent products. And once they get into the groove, they can just keep cranking it out for centuries to come without much drift in quality. Done for the right reasons and in the correct way, the Solera method can be a fantastic tool.

Age Statement

A Solera in spirits can also refer to a Solera Vat, rather than the more arduous traditional Solera system. In this set-up, whisky is aged traditionally and then placed into a large wooden vessel to finish its maturation. Once in the vat, it’s blended with an older product that’s kept inside. After the spirits marry, the concoction is ready to be bottled. Both systems have their advantages, and both are credited with encouraging a consistent product that exhibits rich, complex characteristics.

It’s rare that a Solera whisky has an age statement—especially one as high as these 15 and 18-year-old Speyside whiskies from Glenfiddich. That’s because it spends that stated amount of time in traditional barrel warehouses, maturing in ex-sherry and new American oak casks.

Once it reaches the stated age, the whisky is then transferred to what the distillery calls a Solera tun, a very large container which already has single malts of the stated age. This large vat is where the newly added aged whisky is allowed to mix with older reserves and mellow. Glenfiddich’s Solera Vat is always kept half full and it has not been fully emptied since 1998 for the 15-year-old and more recently for the 18-year-old.

The Solera Vat process was pioneered by Glenfiddich and adds continuous layers of flavour to the whisky. Glenfiddich only bottles half of the whisky in the vats before refilling, which means that the Vats always contain remnants of the original whisky. The original Glenfiddich 15 YO was the first ever expression to use Solera Vats. That 15 YO is an exceedingly gentle, fruity whisky that’s tame enough for newbies and complex enough for middle-of-the-road sippers. The weak 40% ABV was a letdown. Moreover, while the colour is quite appealing, it doesn’t necessarily come entirely from the cask. The E150A is obvious, but the VAT 03 whisky, which is lighter in colour, may not have artificial colouring, but who's to say?

According to Glenfiddich, the line comprises four expressions: Vat 01, Vat 02, Vat 03 and Vat 04. Vat 01 is a 40% ABV single malt. The blend is forever in motion within the Solera Vat 1 and offers sweet and spicy notes, with added depth and complexity due its maturation in bourbon and red wine casks.

                 

While Vat 01 (NAS) offers sweet and spicy notes, Vat 02 (NAS) is mellow yet complex. At 43% ABV, this rich single malt was double matured in oak and Spanish sherry casks and has a smooth and silky finish. 

VAT 03

Details: 70Cl 50.2% ABV 15 YO

Unique to Scotch whisky, the hand-crafted Solera Vat 03, a large Oregon pine tun, elevated over 25 years of maturation of spirits from American, virgin American oak and European sherry casks, distinctly embodies the Glenfiddich Pioneering Spirit. This silky-smooth full-bodied whisky harmoniously combines warm notes of spice with hints of nutty marzipan and dark sherry oak.

A satisfyingly rich and sweet Glenfiddich for connoisseurs, it was first made available exclusively in Global Travel Retail, gravitating into leading retail distributors.

Distillery Tasting Notes

Colour: Golden, with a reddish hue.

Nose: Intriguingly complex aroma with sweet heather honey and vanilla fudge combined with rich dark fruits.

Taste: Silky smooth revealing layers of sherry oak, marzipan, cinnamon and ginger. Full-bodied and bursting with flavour.

Finish: Satisfyingly rich with a lingering sweetness. 

VAT 04

Details: VAT 04 70Cl 45.2% ABV 18 YO

Patiently aged in oloroso sherry and bourbon casks for 18 years, Glenfiddich’s most distinguished Solera whisky is married and continuously transformed in Solera Vat 4 to deliver a deep, rich aroma of robust oak, ripe orchard fruit and baked apple. It is a luxuriously fruity and exceptionally rewarding Glenfiddich. Mistakenly reported elsewhere as a 47.8% ABV.

Distillery Tasting Notes:

Colour: Rich bronze

Nose: Loaded and indulgent with ripe orchard fruit, spiced apple and vibrant vanilla oakiness.

Taste: Warm, mellow and velvety smooth. Sweet oak notes and soft fruits combine beautifully.

Finish: Warming, rewarding and distinguished.

The technique was pioneered for the 15-year-old expression and now three more vats have been constructed for the Select, i.e. this expression, Reserve and Vintage Cask range. The vatting cask for the 40-year-old, the Vintage Cask, containing whiskies from the 1920s, is also never fully emptied.

Vat 01 (1L) has a RRP of £47 (US$65), while Vat 02 (1L) has an RRP of £57 (US$79). Vat 03 is available for £62 (US$89) and Vat 04 at £90 (US$119). Sadly, both Vat 03 and Vat 04 are bottled in a 70cl format.

The collection’s perpetual motion theme is brought to life by the vibrant packaging, which represents the dynamism of the Solera Vat process. The packaging features contemporary artwork from Berlin-based studio ANF, which created the designs using computer-generated code to offer bespoke pieces of 3D artwork.

The global travel retail channel is returning with momentum post-pandemic and Glenfiddich has continued to perform exceptionally well, consistently delivering rare and premium offerings to customers and consumers around the world.

We are delighted to be able to offer this stunning new exclusive Glenfiddich range of
bespoke liquids to the global travel retail channel. The distillery team has done an
amazing job of maturing some very fine liquids in new packaging reflecting the energy
and passion that each bottle contains. They truly are a line from the past to the future,
a reflection of Glenfiddich, a ‘single malt whisky which never stands still’
David Wilson,  MD, William Grant & Sons

Glenfiddich is rolling out a series of pop-up spaces across selected airports to celebrate the launch. At the pop-ups, travellers will be able to explore the collection through an immersive experience which includes interacting with the artworks, tastings and gifting.

The time spent at the airport is that exciting moment where the adventure starts; those flying often do something special to enhance their experience and remind them of their travels. This new range is enticing for all, whether it’s a gift for a maverick loved one or a treat for oneself, The Perpetual Collection offers travellers a unique moment of enjoyment to capture their life that never stands still. 

Personal Impression

I believe that the first two sets, Vat 1 and Vat 2, are best left alone. Vat 1 is a NAS 40% ABV unknown entity. Vat 2 has a higher proof, at 43% ABV, but is still NAS. The single malts therein are likely 11-13 years old. Only Vata 3 and 4 need to be considered for purchase. Their proof ratings are good and both are non-chill-filtered. At 15 and 18 years, they will cost a pretty packet.

GLENFIDDICH'S GRAND EXPERIMENT WITH GRANDEUR

  EXTRA SPECIAL GLENFIDDICH WHISKIES LAUNCHED

William Grant & Sons kicked off its new Grand Series Collection back in 2019, with the launch of Grand Cru, a 23-year-old whisky finished in French oak cuvée casks. This experimental range seeks to push the upper boundaries of single malt.

The 2019 whisky, called Glenfiddich Grand Cru, is first aged in American and European oak casks before being “further bolstered with extra intensity” from cuvée casks that have been used by producers for the first fermentation of wine that will traditionally go on to become Champagne after a second fermentation in bottles. Created to tap into “celebratory moments”, Grand Cru was the first release in the new Grand range. The next whisky in the series was seen late 2020.

China was first recognized as a high-sales lucrative market for Scotch whisky by Diageo. They exploited this hidden market immediately and soared high on massive sales of whiskies dedicated exclusively to China. Every Chinese New Year was feted with a special expression. Taking its cue from its rival in the market, Grant’s decision to also focus on this money-spinning target. As many as six Grand whiskies were produced by Glenfiddich, with the second  aimed solely at China. More was to come in subsequent years. This is also an experiment at the highest end of the scale, to follow the trend-setting affordable Experimental Series, the last of which was the Fire & Cane peated expression that spent finishing time in Caribbean Rum casks.

Sadly, Glenfiddich first aimed at a less than fussy nondescript market, pushing out fancy bottles at an insipid 40% ABV. Low ABV notwithstanding, the Glenfiddich Grand Cru has notes of apple blossom, freshly baked bread and candied lemon on the nose. The palate has hints of rich vanilla oak, sweet brioche, sandalwood, pear sorbet and white grape. Subsequent editions were elevated to a slightly higher ABV, at 43%.

Glenfiddich malt master Brian Kinsman said nothing new, just rotating his earlier remarks to suit the occasion. Breaking category conventions once more, this unusual collaboration presented an opportunity to create a spirit that further elevated Glenfiddich’s unique style. They experimented with the maturation time and hand-selected the right balance of 23-year-old Glenfiddich casks out of their unique collection of old-age malts. The other influence from the oak of the French cuvée casks added an extra layer of complexity derived from the liquid they once held.

The final liquid was to present exceptional finesse as a special tribute to each individual cuvée cask the malts were finished in. The aim was to create a fresh, new drinking moment for Glenfiddich and for the wider whisky category, by crafting an expression that played on the liquid synonymous with celebration but that brought the substance and smoothness of single malt to the moment. The result was Grand Cru – a liquid that bore the hallmark of quality and innovation associated with the brand and a true testament to an innate maverick spirit.

Glenfiddich Grand Cru is presented in a sheer black glass bottle and a black box featuring a golden firework design. It was priced at £220 (US$300). Assisting in the design was Australian Fashion Designer, Jordan Dalah.

The second expression in its Grand Series Collection was a 22-year-old Sherry cask-finished single malt late November 2020, the Glenfiddich Gran Cortes XXII, a 22-year-old whisky finished in rare Spanish Palo Cortado Sherry casks. The single malt was named after the grand palaces of Spain.

Kinsman visited wineries in Andalucía to explore the world of Spanish winemaking for the second Grand Series whisky. They researched age-old processes, testing finishing times and maturations to find the perfect composition of character, depth and aroma. After careful experimentation, ensuring that it would be seen as a Speysider, they found the right balance.

The 22-year-old Glenfiddich malts from their old-age collection were finished in Palo Cortado oak casks. The alchemy that takes place in the oak casks pushes the boundaries once again. The finished product was a unique whisky with a dark red hue and distinctive character, an unforgettable spirit to mark the most special occasions. 

The resulting whisky had ‘rich and intense layers of deep sweetness’, with an aroma of dates, dark chocolate and raisins. The palate offered oak, sweet vanilla and marzipan, followed by citrus and fruitcake on the finish. Gran Cortes XXII, which comes in a Sherry-red box, was created exclusively for consumers in Mainland China and Taiwan. It was available to buy in luxury retail outlets and premium establishments, priced at £185 (US$245).

The third was a surprise reprise! Following his sold-out box set for Glenfiddich Grand Cru, Glenfiddich teamed up again with Jordan Dalah for a second release in the Grand series of whiskies, this time with Glenfiddich Grande Couronne. Jordan rose to the occasion once again, giving a radical new edge to a whisky house praised for its art in experimentation.

Launched in Australia on Australian Fashion Week 2022, Glenfiddich Grande Couronne is a 26-year-aged whisky finished for two years in meticulously selected rare French cognac casks. Grand Couronne represents the crowning glory of any occasion. Glenfiddich Grande Couronne is housed in a luxurious soft-touch embossed shell irresistible to the touch. A stunning warped filigree graphic covers all four sides and is issued in three unique colour ways. Jordan’s own label from his garments cleverly replaces a handle used to open the box.

This limited-edition box set includes an exclusive unpublished A1 framed print taken from Dalah’s “SS23” show, a set of six Grande Couronne balloon glasses, and a bottle of Grande Couronne, liquid unchanged. Couronne translates as Crown in English.

The outstanding expression, Glenfiddich Grande Couronne, is finished in Cognac casks at the distillery warehouse in Dufftown, Scotland, and managed by the fifth-generation descendants of William Grant. Grande Couronne is created with opulence in mind at every step, from its conception to bottling. Glenfiddich is finally offering a bottling that looks good and tastes amazing.

The fourth in this collection was inspired by the success of aligning a bottling with Fashion Designers. This time, Glenfiddich went to an online fashion destination, MR PORTER. Both brands claim to pursue taste, elegance and innovation relentlessly. The new expression is the brainchild of Brian Kinsman and MR PORTER’s Creative Director Ben Palmer. Built upon a beautifully complex 20-Year-Old producing layers of fudge, spiced oak and caramelised Demerara sugar, then finished in hand-selected casks of New American oak, ex-bourbon and European oak sherry casks to create a deep, silky smooth single malt.

Designed to be enjoyed with close friends it’s an elegant addition to your spirit trolley. The bespoke casing, also designed by Palmer and Kinsman, will see the bottle presented in a crisp white, embossed casing, lined with a subtly designed, minimalistic monogram featuring the two iconic brand emblems. What promises to be a unique new expression from both outfits, it’s an elevation of the classic 20 years. Glenfiddich and Mr Porter’s single malt Scotch whisky is limited to only 1,500 bottles worldwide making it a true collector’s item that marks the fashion platform’s first foray into spirits.

Glenfiddich 20-year-old x Mr Porter has spent an unspecified period of time in a selection of New American oak, ex-Bourbon and European oak Sherry casks. Eligible consumers in the selected markets had to register online by a fixed date and a ballot would be cast to determine consumers eligible for a chance to purchase a bottle. The price was fixed at a mid-range GBP300 (US$412) per 70cl bottle at a healthy ABV of 47%.

Then came the Glenfiddich Gran Reserva. An unusual bottle of whisky from the Grand Series of Glenfiddich comes with the attempt to display a perfect demonstration of both authentic manufacturing and fresh ideas. The Glenfiddich is patiently matured on-site at the distillery for 21 years in Caribbean rum casks, that’s right, matured not finished, possibly one of their most popular in this range – however, this special packaging is not that easy to find.

The spirit of innovation is clearly shown in the crafting by Glenfiddich. The velvety aromas of tropical fruit and spicy ginger with the highly unusual finish add extra layers of sweetness and exotic notes, creating a rich, decadent and luxurious single malt. This aged liquid with intriguing finishes exemplifies the Caribbean touch of the Grand Series. After all, the Caribbean rum casks awaken the liquid, rousing it with extra exotic notes of ginger, fig, lime and banana and a vibrant spicy toffee warmth, elevating it from something great to something extraordinary. Overall, this is a single malt whisky you can gift yourself or someone close to you.

Don’t confuse this one with the regular Genfiddich 21 – Rum Cask – which is finished for four months in Rum casks. They have different boxes but do read up the details. It costs £185 ($220) at 40% ABV.

And finally, the Glenfiddich 21 Year Old bottled end 2021 for the Chinese New Year 2022.  This is a 40%ABV expression priced at anywhere between £185 (US$245) and £295 ($ 390).

The Chinese New Year for 2022 begins on February 1st and runs through February 15. For this year the animal associated with 2022 is the Tiger. Glenfiddich’s contribution to the Chinese New Year is described as the final release in a trilogy of Chinese New Year offerings, with this particular release sporting a beautiful stag design from Chinese artist Rlon Wang.

This 21-year-old Gran Reserva is a truly delectable single malt Scotch whisky from the limited-edition pack of Glenfiddich released to celebrate Chinese New Year 2022. This whisky is matured in previously held Caribbean rum and then the last four months in hand-selected Gran Reserva barrels. This is a truly delectable Single Malt Scotch Whisky, with a beautiful presentation box, designed specifically for the Chinese New Year.

Created using casks that once contained premium Caribbean rum, the Glenfiddich 21-year-old spends a further four months finishing in Gran Reserva barrels which are hand selected by Malt Master Brian Kinsman, adding to its distinctive and complex flavour and thus giving this expression its name.

Uncover the intense and vanilla sweet aroma teasing with floral notes and hints of banana, rich toffee, and leather. Delve deeper and discover the intricate flavour complexities of Glenfiddich 21-year-old Gran Reserva, the initially soft, then brisk, vibrant and peppery taste with a touch of smoke, lime, ginger and spices all culminate in a very long, warming, dry and spicy finish. The aroma is intense, with a hint of smoke to give a long, warming and spicy finish.

GLENFIDDICH ORCHARD EXPERIMENT NO 5

 Glenfiddich's Orchard: The First From Pomona Casks

Glenfiddich's much touted Experimental Series, which started off on the wrong foot with the debut of an IPA maturation Scotch that didn’t really take off, hit the mark with its second installment, The Product XX, a blend by a collaboration of 20 Brand Ambassadors from 16 countries to produce a secret Scotch. Then there was also the highly popular, if expensive, Winter Storm which was matured in Icewine casks. The steep price limited batch size, but most shelves soon ran dry, calling for a second batch. Glenfiddich obliged. Malt Master Brian Kinsman then turned to produce a peated whisky, not a typical style for Glenfiddich, the Fire & Cane, unexpectedly smoky but with a hit of toffee sweetness. This result came about after a marriage of their rarely-seen peated whisky with unpeated bourbon-aged single malt, all of which was finished in Latin rum casks. What one got was a surprisingly sweet and smoky dram that blended rich caramel and spice notes with fresh green fruit and soft pillowy smoke. It is not an everyday drinking dram, but a drinkable and unique whisky to enjoy on occasion.

Brian is now back with #05, The Glenfiddich Orchard. This bottling is also 43% ABV and is a pioneering single malt Scotch whisky. It is the first in its history to be finished in Somerset Pomona Spirit casks, born out of craft, tradition, and desire for experimentation.

Discover where the sweetness of Somerset's apple orchards meets Scotland's wild and rugged landscape. This innovative 70cl single malt celebrates and elevates the Glenfiddich sweet and fruity signature style by bringing together two iconic families. Glenfiddich Orchard combines Temperley's apple cider brandy and Grant's Scotch whisky to create this exquisite blend. Hand-selected Glenfiddich whiskies are finished in casks from the Somerset Cider Brandy Company, previously holding sweet Somerset Pomona, for approximately four months to create this incredible fruity and sweet whisky.

Together, they create a Scottish whisky bathed in the sweet warmth of an English summer's day. This truly unique Glenfiddich expression is a tale of two Maverick families, sure to delight whisky and cider enthusiasts alike. It is available as a 70cl bottle in an exclusive gifting tube for an exquisite year-round gifting experience.

For those outside the UK, Somerset Pomona is a type of apple liqueur made in the UK that is named after the Roman goddess of fruit and is basically a blend of apple juice and cider brandy, which is then aged for several years before bottling. It's fruity, toasty and fairly heavy - as such it is often drunk as a digestif or paired with cheeses.

There's some significance to this particular Experimental edition - it represents a new type of cask that was only permitted wef 31 Oct 2019. The Scotch Whisky Technical File, which is used by HMRC to ensure compliance, was amended to expand the cask types that can be used in Scotch production wef 31 Oct 2019. Specifically, the change allows Scotch to be matured in oak casks that have previously been used to age wine, beer, ale and spirits, vastly broadening the variety of casks available to distillers.

While it may appear like yet another instalment in the Highland whiskymaker's Experimental Series - which frankly, is there really any whiskymaker that doesn't have something of the sort (along with some Art series of some kind) - this is actually a real step outside of what has existed in Scotch-verse. The use of a fruit liqueur cask is something that was only permissible under the revised Scotch labelling rules that (belatedly) changed in 2019, which was in part due to a leaked expose of Diageo's push for Scotch makers to be allowed to use a wider range of casks. Somerset Pomona actually falls under the new rules which specifically allow fruit-based spirits which are made having added fruit after fermentation or after distillation (specifically, this one).

This of course, also comes off the back of Scotch makers acknowledging the need to be more competitive as their Irish, Japanese and Australian peers, amongst others, have taken advantage of the restrictive Scotch rules that only allow mainly the Big 4 casks - Bourbon, Sherry, Rum and Wine (not exhaustive, but primarily these) - to get ahead of Scotch by marketing interesting and innovative use of different casks.

This isn't some marketing bullshit, it really is an experiment in that sense and a sensible one (unlike some funky casks that have been used the moment these laws were broadened) - so for something like 43 GBP, and is quite easily available at your nearby retailer, it is certainly worth a shot. Let's hope this gets a worldwide release as well, which no news has been announced yet. Perhaps we might start to see somewhat of a loosening up of Sherry's grip on the Scotch category.

OFFICIAL TASTING NOTES

Nose: Glenfiddich notes of fresh pears and ripe orchard fruits, elevated and accentuated by a finishing period in Somerset Pomona Spirit casks.

Palate: An initial burst of ripe orchard fruits on the palate softens and develops into sweet creamy toffee, caramelised apple, and woody spice.

Finish: Long-lasting sweetness.

This sounds wonderful. Deep, fruity notes and a more creamy and heavier-bodied texture is a profile that is popular in whiskies. It's accessible in terms of taste, seems pretty generally likeable in terms of flavours (nothing too divisive), and has a good weight to it - probably nothing wild should be expected here, but certainly would seem like a good starter/daily sipper whisky. Quite easy to pick up as well and reasonable price, $48-52. Don't look for too much here. Simple does it.  

                   

                  

GLENFIDDICH'S EXPERIMENTAL SERIES

 QUESTIONING CONVENTION

Viewed holistically, the Scotch Whisky market really doesn’t have much space to accommodate newcomers in the traditional fortress the Scotch Whisky Association has built around it. It’s actually very difficult to do fiddle around with Scotch whisky, as it is the most heavily regulated drink in the world. Newer avenues are being examined to penetrate a cluttered up market place, and with a desire to reach a younger audience there needs to be an interesting enough marketing hook to create some noise around it, not to mention some good branding. One of the first barriers to be broken was the Age Statement. Today, there is a profusion of No Age Statement bottlings, from debutants to diehard distilleries. The basis for integrity bottlings was to be recast.

Glenfiddich, one of the world’s biggest whisky brands, made a bit of a splash when it announced a plan to create new experimental whiskies with which they hoped to ‘push the boundaries of Scotch whisky’. The Malt Master at Glenfiddich had obviously figured out a method to push things further, with pride of place at stake. He looked for a solution by questioning convention and breaking boundaries; the heart of a range of expressions known as the Experimental Series.

THE GLENFIDDICH EXPERIMENTAL SERIES

Malt Master Brian Kinsman had a series of experimental bottlings in mind. Without giving much away, he said that he would start with a bottom-up approach. His first would be with Indian Pale Ale casks, to be followed by an attempt to collate the skills of as many as 20 Brand Ambassadors from 16 countries to create a truly international expression, after which at least three more expressions would be seen. He left it at that, stirring up interest in his creativity and how far he was willing to go.

In Experiment #01 he wanted to question what he knew about ale and the residual taste in barrels after ageing beer in wooden barrels to achieve a variety of effects in the final product. Sour beers such as lambics are fully fermented in wood, while other beers are aged in barrels which were previously used for maturing wines or spirits. Barrel-aged beers are so trendy that nearly every taphouse and beer store has a section of them. These were the barrels used in maturing the Glenfiddich IPA Experiment. Brian drew on his experience in creating a beer barrel-aged blended Scotch whisky from Grant’s. He started tooling around with different cask finishes, looking to add another layer of interest to that blended Scotch. Four months in a cask that once held scotch ale afforded the flavour he sought: maltiness, honey and (perhaps from the hops) a satisfying citrussy ping at the end. Sadly, it was not to be!

THE GLENFIDDICH IPA EDITION: ABV 43%

The Glenfiddich IPA Experiment is a No Age Statement whisky finished for just 3 months in casks that had held an IPA beer created by the nearby Speyside Craft Brewery. The ale itself was created using British Challenger hops for its fruity flavours, and which would in theory go well with the Glenfiddich’s inherent fruitiness. In the first experiment of its kind, Kinsman collaborated with Seb Jones, an entrepreneurial Speyside brewer, to create a new craft IPA and pioneer the way for a new kind of single malt Scotch whisky. Brewed in bespoke craft IPA barrels, this single malt expression was supposed to be imbued with unique zesty citrus notes of ripe green apple, William’s pear and spring blossom, complemented by the subtle tang of fresh hops followed by a long-lasting sweetness. Unfortunately, this experiment didn't go too well but laid the cornerstone for subsequent expressions to leap off from.

I wouldn't like to offer an opinion on the tasting notes. The official tasting notes are:

Colour: Rich golden.

Nose: An elegant harmony of fresh green apple, William’s pear and spring blossom. Complemented with aromatic hops and fresh herbs.

Palate: Vibrant with a zesty citrus note followed by creamy vanilla and a hint of fresh hops.  

Finish: Enduring sweetness with an echo of green hops.

THE GLENFIDDICH PROJECT XX: ABV 47%

20 of the whisky industry’s most exceptional minds came together to create this truly unique, pioneering single malt expression, the second in the Experimental Series. It was an unqualified success, wiping off the sour notes of its predecessor.

With its deep golden hue, Project XX embodies the warm, fruity character of a classic Glenfiddich whisky with hints of apple blossom, summer fruits and ripe pear. But its multiple personalities are revealed with hints of sweet candyfloss, cinnamon spice, almonds and rich port tannins with the odd whisper of liquorice. Deep and mellow, the finish is long-lasting with a lingering sweet oakiness.

The official tasting notes are:

Colour: Deep gold.

Nose: Classic fruitiness with hints of apple blossom and plump pear. A perfect balance of rich vanilla oak with golden sugar and a touch of liquorice.

Palate: Deep and mellow, the candyfloss sweetness is complemented by unusual notes of toasted almonds and cinnamon and a hint of crisp tannin.

Finish: Long lasting with a savoury sweet oakiness.

ICED WHISKY: Pursuing an ingenious idea, Brian experienced the freezing Canadian January weather to learn about how the grapes had to be picked at moonlight at -10˚C when they were as hard as pebbles. Iced Blended Scotch whiskies were already available, with a good market response. Working with Peller Estates VP of Winemaking, Craig McDonald, it was an opportunity to push the boundaries of taste to create a new unexpected whisky.

THE GLENFIDDICH WINTER STORM: ABV 43%

For the third experiment, Malt Master Brian Kinsman travelled to Canada to meet a renowned winemaker in Niagara. There he learned how the grapes had to be picked by moonlight at -10˚C to produce the intensely sweet Icewine.

Upon his return to the Glenfiddich Distillery, Brian started experimenting with several French oak Icewine casks from the Canadian winery, filling them with different Glenfiddich aged malts for up to six months. Only the rarer whiskies, those aged for 21 years, could cope with the extra Icewine intensity.

The taste is a perfect combination of both pioneering liquids, the heightened candied sweets and oakiness of Glenfiddich are complemented by mouth-watering tropical fruit notes and a luscious sweetness from the unique Icewine cask finish.

First released in October 2017, the expression is now freely available.

The official tasting notes are:

Colour: Golden.

Nose: A bouquet of tropical fruit and candied sweets are perfectly balanced with underlying wine notes.

Palate: Soft sweet notes reminiscent of candied fruit and Turkish delight develop into flavours of mouth-watering lychee. The fusion of sweet flavours is soon met with a rich drying sensation from the Icewine.

Finish: Short and crisp.

GLENFIDDICH FIRE & CANE SINGLE MALT WHISKY: ABV 43%

Brian Kinsman then turned to produce a peated whisky, not a typical style for Glenfiddich. The answer is Fire & Cane, unexpectedly smoky but with a hit of toffee sweetness.

Glenfiddich Fire & Cane is a bold fusion of smoky and sweet notes. By marrying peated whisky and malts matured in bourbon barrels, and then finishing in Latin rum casks, he created an exquisite whisky with campfire smokiness and toffee sweetness.

The official tasting notes are:

Colour: Golden

Nose: Billowing soft peat notes, like distant smoke on the wind. Rich sweet toffee with zesty fresh fruit notes and spiciness.

Palate: Like a Highland peat campfire, with oak notes and toffee. Sharp green fruit, sweet baked apple and soft smoke.

Finish: Lingering smokiness and sweetness

OVERALL: The Project XX is streets ahead of the other three. Perhaps one could even discount the IPA expression as way below par, not reaching even the Glenfiddich 12 YO Standard Bottling.

IRELAND'S WHISKEY HERITAGE

IRELAND’S WHISKEY inheritance

UISCE BEATHA: THE WATER OF LIFE

Ireland lays claim to the earliest documented mention of whisky. In 1405, the Annals of Clonmacnoise reported the death of a local clan chief, Richard Magrannell, after supping on the water of life, his death preceding an internal fire into the pit of his stomach. The water of life ironically became the water of death for this chief.

The arrival of the “e” in whiskey which separates it from its Scottish neighbours, was very much a late addition to the process and was added to mark clearly the difference between the two Celtic products. The two spirits are produced in very different ways, and it is Ireland’s more refined distilling process that brought a Scotsman to their shores to distil one of Ireland’s most famous whiskies!

Kilbeggan – Ireland’s Oldest Distillery and the Ghost of a Monk

Whiskey had to be regulated, which means it could only be officially distilled by licence. In 1608, King James I granted a licence to Sir Thomas Phillips, who owned property and land in County Antrim -Bushmills to be precise! This does give Bushmills the claim to fame of being the oldest surviving grant of licence distillery anywhere in the world. They cannot however, lay claim to being the oldest working distillery, as they did not register to trade until the late eighteenth century.

The honour instead, goes to the Kilbeggan Distillery in County Westmeath, which is also home to the oldest working pot still in the world, at more than 250 years old. In 1757, Matthew McManus began the distillation of the whiskey with his family for almost 100 years before it passed to John Locke.

During his tenure, a vital piece of equipment was damaged, projecting a halt to the production of Kilbeggan whiskey. John Locke put out the word in what could be described as an early ‘Go Fund Me’ move, which saw the people of the town of Kilbeggan make donations that enabled the broken part to be replaced and production to be continued.

This wasn’t the only time the townsfolk got together to protect the distillery – In 1878, a fire broke out and barrels of whiskey were set ablaze. The community once again came to the rescue, breaking down warehouse doors, going up against fire and smoke to rescue the ageing barrels of whiskey, rolling them down the street to safety. While many did go up in flame, the swift actions of the locals saved distillery once again!

Kilbeggan itself is haunted by at least two former residents. The first is the apparition of a monk, believed to be a part of the Cistercian order that had an Abbey founded very close to the distillery, dissolved in the mid 16th century. Murmuring, whispering and unexplained noises are also rife throughout the distillery.

The other is the spirit of founder Matthew McManus, who is seen walking through the distillery, no doubt checking the process is running as smoothly as the whiskey itself. Unfortunate circumstances would hamper the McManus link with the distillery. Matthias’s son, John McManus, the then manager of the distillery, was also a member of the United Irishmen who rose in rebellion against English rule and was executed in Mullingar for his part in the local uprising.

For some time now, locals and staff have told of close encounters and strange noises around the grounds. But all that was just hearsay, until the Irish distillery became so well known for its spooky reputation that it attracted the attention of the legitimate ‘psychic’ Derek Acorah. He said previous owners of the distillery continue to roam the grounds, including Matthew McManus, his son John and a lady descendant of the Locke family.

The Scottish Freemason Who Created Irish Whiskey

To the dismay of many an Irishman, the fine Jameson whiskey was actually created by a Scotsman! John Jameson was a Scot who married into the Haig distillery family. On arrival in Dublin in 1774, he immediately started networking and joined the Freemason chapter Convivial 202 in the capital city. A few years later, ‘The Liberator,’ Daniel O’Connell would join his own Dublin Freemason’s chapter and become pivotal in the demise of the Irish whiskey industry. In 1780, John Jameson obtained existing distillery premises on the legendary Bow Street site, already home to several distilleries and began the famous Jameson whiskey legacy. Four of his sons continued in the whiskey industry, with one continuing to run Bow Street and the others opening rival distilleries. One such son, Andrew, moved to County Wexford and while his own distillery didn’t achieve much, he went on to be the grandfather of Italian aristocrat and inventor of the radio, Guglielmo Marconi.

An American Slavery Abolitionist, An Emancipator and a Priest

In the 1830s, a priest called Father Theobald Mathew started the Cork Total Abstinence Society. Solicitor and politician, Daniel O’Connell took the pledge and heightened awareness and status of the movement. O’Connell was invited as a guest speaker in Cork, with his new friend, black slave and advocate of the abolition of slavery, Frederick Douglass. Inspired by Father Mathew, Douglass also took the pledge and befriended the priest.

Frederick had already whipped up a frenzy travelling and speaking around Ireland so once again the strength of Rev Theobald Mathew’s cause was at an all time high. The friendship between the two men was short-lived however, as Rev Mathew visited America, only to slight Douglass by refusing to return the favour at an abolitionist rally.

The damage was done and the demise of the Irish whiskey industry had begun. A solicitor had raised the bar for Irish whiskey distilling and another solicitor brought it down. The Temperance Movement peak was swiftly followed by the Irish Great Hunger – no grain meant no whiskey. Following on there was an ongoing battle for independence in Ireland, harsh tax levies, two world wars and the introduction of Prohibition and The Great Depression, plunging the Irish whiskey industry into a decline of epic proportions.

THE CURSE AND HAUNTING OF DUNDRUM HOUSE

The Rock of Cashel in County Tipperary is where the veil between worlds is at the thinnest in all of Ireland. Just a few miles away is Dundrum House, with a bloodied and chequered past, that remains very much in the present – the veil lifted and the ghostly remains of curses, insanity and haunting stepping firmly through.

Dundrum House And The Maude Family History

The area around Dundrum was owned by the O’Dwyers of Kilnamanagh. During Cromwellian occupation, Phillip O’Dwyer captured Cashel with his followers in 1641 which led to more retaliation across Munster. After a number of battles Phillip O’Dwyer of Dundrum was sentenced to death. He cheated the gallows however, by dying before he could be executed. His lands were taken from his kin and given to the Maude family.

The first Maude to gain the lands at Dundrum was Sir Anthony Maude, said to be a drummer in Cromwell’s army, although the title suggests a much higher rank. Anthony Maude was made High Sheriff of Tipperary and was succeeded by his only son Robert, who was made Baron of Dundrum and Dundrum House Estate was built in 1730. He in turn left the the estate to his eldest son, Sir Thomas Maude, who was born in 1727, and died at the age of 50. His final years were hell on Earth…

Thomas Maude maintained a life of nobility grandeur with little time for the normal things in life. So much so, he never married, not even to create an heir. Such was his holding over the area he even had his own private waiting room at Dundrum station. His wife was power and control was his mistress, stopping at nothing to retain his hold over Tipperary as High Sheriff and to keep the common man down. The worse his deeds, the greater his rewards. In 1768 he became a member of the Privy Council of Ireland, who held executive power. In 1776 he was granted the Baronetcy of Hawarden, with the title of Baron de Montalt, which meant little to the man who was by this stage, almost completely insane.

Thomas Maude died on 17 May 1777, unmarried and with no heirs, so the property passed to his younger brother Cornwallis, and thereafter to his son. The family home in County Tipperary remained until 1909 when it was sold to a religious order.  Quite unsurprisingly, the Maude family spent very little time in their Irish home, preferring the less controversial surroundings of their English estate.

The last Maude to reside in Dundrum House was Lady Clementina Maude, Viscountess Hawarden, by marriage. She was a recognised photographer in her own right until her unexpected death in 1864, with works continuing to sell under auction and shown in the Victoria and Albert Museum in London. Many of her photographs were of her young daughters, taken in Dundrum House. She cleared rooms on the first floor and created various “theatrical sets” posing her daughters and other subjects in various “scenes.” Remarks by critics were chastising. “Hawarden’s pictures raise significant issues of gender, motherhood, and sexuality,” said Carol Mavor.

Could it be the curse of Dundrum House and the lingering shade of Thomas Maude were creeping into the very essence of Clementina, touching her with a confusion and darkness of her own? Interestingly, it would appear that the children continue to run around the first floor, full of frivolity in their roles as models for the Victorian photographer.

DUNDRUM HOUSE AFTER THE MAUDE DYNASTY

After the Maudes left, in 1909 Dundrum House was acquired by a religious order of nuns, who later established a school which had a strict ethos and was known as an industrial school, although it carried the more delicate title of Domestic College. More than one nun was allegedly removed from faculty for harsh treatment of students, tormenting and hurting them so much that many needed therapy as a result.

It then became a hotel owned by the Crowe family. Those who visited the hotel noticed the stained glass windows in the cocktail bar. A room of prayer became a location for late nights and spirits of the noon ethereal variety. While the golf resort and restaurant flourish, Dundrum House itself has been closed to the living for several years.

FATHER NICHOLAS SHEEHY

Father Nicholas Sheehy was a local priest who was very outspoken against Penal Laws and what was known as the Tithes. These were extortionate taxes taken from the Catholic community and paid to the Protestant Church. What happened to him was in essence, judicial murder at the bloody hands of Thomas Maude.

Nicholas Sheehy was ordained in 1750 where he remained in the parishes surrounding Dundrum. An advocate of the Catholic Community who were being left destitute and marginalised by the Penal Laws which saw Catholic tenants evicted from their homes and common farmland by Anglo-Irish landlords, he spoke for the poor and the tithes taken under duress and used to bankroll the Protestant Church. Nicholas became more active in the cause and covered legal costs for those arrested for rioting and in particular, for the members of the group known as The Whiteboys. These were a fraternity with sects across the country.

Non denominatory, their aim was to cause civil unrest and claim back the lands taken from the locals. The Whiteboys would destroy fencing and walls to open communal lands back up, however as their notoriety grew, so did their level of violence and fearfulness.

Father Nicholas was a thorn in the side of the local landlords and Protestant Church, not only for his assistance and voice for The Whiteboys, but also his connections with France and Rome. Afraid that those with connections would bring in reinforcements and change the balance of power, they decided Father Sheehy had to go.

TRIALS AND EXECUTION

The Tipperary priest was subjected to three trials in total, in a bid to remove him from his position in the community and weaken the local cause. The first trial in Dublin found him not guilty. Straight away, Sheehy was accused of being complicit in the murder of a man called John Bridge, which rapidly turned into a charge of High Treason. The trial would once again take place in Dublin, where he was once again acquitted.

Thomas Maude was outraged. As High Sheriff, he plotted with the Rector of Clogheen and local landlords to bring Nicholas Sheehy down once and for all. In a carefully orchestrated plan, created in the Drawing Room of his home, Maude got the trial transferred to Clonmel, rigged the jury and had witnesses commit perjury on the stand, including Moll, a local prostitute who claimed to have witnessed the murder.

The judge sentenced Father Nicholas Sheehy to be hanged, drawn and quartered. Sheehy’s attorney on hearing the sentence of death turned to the jurors and said, “If there is any justice in heaven you will die roaring”. Nicholas Sheehy said in his final speech, after he was sentenced to death, that he was being put to death for a crime which had never been committed. John Bridge, the man, said to have been murdered, was seen in Cork after the date of the alleged murder, whereupon he emigrated, oblivious to his role in the murder of a priest.

Sheehy delivered an eloquent and well-reasoned protest against “the shameful injustice, the gross perjury, and the deadly malice of which we are the victims,” and concluded by declaring: “I leave it to God to distinguish between the innocent and the guilty.”He was executed and his  cousin Buck Sheehy, who appeared as a witness, was hanged two months later, along with two others in front of their families for the same murder.

Father Sheehy was very much respected as a local healer. It was said he healed the sick using secret herbal cures, much like the accused witch Biddy Early of County Clare which is fairly ironic as the Catholic Church were responsible for her demise. To this day Father Sheehy is regarded as a martyr. People visited his grave at Shanrahan cemetery to take the clay that encased him, because it was said to have healing powers. The priest was at peace and revered, his innocence never in doubt. The same cannot be said of Thomas Maude and those complicit in his heinous crime. Father Sheehy wasn’t entirely forgiving, and a curse was put on Maude, that he would go insane, slowly being dragged to hell by the wronged priest and as a lunatic, he would grow a tail so he could never sit down. In additions, the other participants would die unnatural and unholy deaths as a punishment for the parts they played.

Whether the priest, his legal counsel, his sister or The Whiteboys invoked a curse, there is no doubt one was cast, as all those responsible began to fall one by one…John Bagwell, became senile, incapable of speech and rational thought, sensing the headless Sheehy at his elbow. William Bagnell shot himself, while Mathew Jacob died from a violent epileptic fit. William Barker dropped dead on the street and Shaw choked to death. Ferris, a draper of Clonmel, went completely insane. John Dunville was kicked to death by his horse and Alexander Hoops drowned in a stream after a manic episode. Minchin, died a destitute beggar, ridden with disease. Osborn Tothall of Clonmel, cut his own throat, his family prevented from burying him in the graveyard by locals. Jonathan Willington died in agony on the toilet. Witness for the prosecution Moll Dunlea, a prostitute, fell down into a cellar and cracked her skull. Other prosecution witnesses died in agony of various diseases including leprosy. After Father Sheey’s beheading, loyal parishioners dipped their hands in his blood and used it to make the sign of the cross on the door of the Protestant Church House. The hangman Darby Brahan was some time later stoned to death by an outraged crowd in county Kilkenny.

Thomas Maude himself slowly spiralled into madness over ten years, as predicted and his staff said he did indeed, produce a tail. He was convinced Sheehy was pulling him slowly into the flames of Hades and eventually died in his bedroom, alone. It was said that once in his coffin and loaded onto the hearse, the horses refused to move their evil load. His corpse was instead said to have been bricked up in a closet in his chamber, his coffin filled with stones. A tad exaggerated perhaps, as no skeleton was ever recovered, but his room was indeed sealed off…

BIRD OMENS AND DUNDRUM HOUSE

When Father Sheehy was sent for execution at the hand of Thomas Maude of Dundrum House, part of the curse was that no bird would fly over Dundrum until Maude was dead. It is also said that for all the time the severed head of Father Sheehy remained on a spike outside Clonmel Gaol, no bird would go near it, while other heads were picked apart by crows and ravens. Crows and Ravens have long been emblematic of death, made all the more foreboding by their predisposition to feed on carrion, the decaying flesh of animals, as well as their black plumage. These birds were purported to be chaperones, guiding the souls of the departed into the next world as well as conduits between this world and the spirit plain.

The belief has continued over the centuries that when a single raven or crow has appeared at a house, tapping on the window, a death within was looming. Thrushes flying in the window and settling and white owls seen during the day are also signs of impending doom.

GHOSTS OF DUNDRUM HOUSE

Thomas Maude’s ghost is said to sit on a tree in the estate, watching, beady eyed, a maniacal, crazed expression on his face. Moll Dunlea, the prostitute who was bribed to bear false witness against Father Sheehy remains forever tied to the Estate. She lingers on the road bridge over the river adjacent to Dundrum House, hence its name Black Bridge. She she is said to revisit over and over again, unable to change the fate she made for herself.

One wonders if the darkness and madness that seep into the stonework affected the nuns within, a battle of good versus evil. Did this impact the behaviour of the women who treated the children in their care with cruelty and brutality?

Once Dundrum House became a hotel, accounts of supernatural experiences became rife. Thomas Maude’s room had to be unblocked, and a worker felt he was enveloped in an icy chill and did not feel himself thereafter, to this day believing something not of this world was released.

A guest was checking out of the main old building of Dundrum House and told the receptionist she felt sorry for the woman who had the children running up and down the hall all night long. The female guest had been the only person staying in the main house. The daughters of Clementina Maude perhaps?

Another guest had telephoned his girlfriend in terror begging her to come and get him. Apparently no calls he made from his room would go through to reception and the hotel room door just would not open. His girlfriend called the hotel, who entered the room to find the man huddled in a corner, crying and shaking.

A fire broke out in the hotel kitchen a few years ago, forcing the closure of the hotel building, however this did not stop the activity. Richard, the manager of Dundrum House, was escorting a few people from Head Office around the property. While doing so, he playfully pressed on the ring for service button by the fireplace in the drawing room, four times – a futile gesture, as the power was disconnected throughout the house. When they reached the reception, they all distinctly heard four rings in sequence from the drawing room, too terrified to turn around and see who, or what required their assistance

The restaurant and self catering premises as well as the golf course remain successful, yet staff will not enter the main house itself out of fear. The Irish Paranormal Investigations team decided to investigate Dundrum House over a few visits, determined to find out why.

A couple of hours in and it was turning out to be one of the creepiest locations ever investigated. Temperature drops, moaning, footsteps, doors banging, and this was just the beginning! As Thomas Maude lived out his final days here descending into madness, cursed by a priest he had executed, damned to hell – it’s not surprising there was more to come.

The drawing room was full of activity – Thomas Maude seemed to be present and not pleased to have the subject of Father Sheehy raised under his roof, particularly as this was the place his horrors had begun. Despite knowing the layout of the three connecting ground floor rooms well, it took the team three attempts to get out, each time unnerving them further, as if Maude was trying to show how he felt descending into madness. Suddenly, the spell was broken and they could leave, a weight lifting from their shoulders and the air around them. The picture of Dundrum was a big trigger for activity too, the speaking of the name itself drawing a reaction on multiple occasions.