Bordeaux Bloodbath? Grubbing Up Deja Vu

You’ve probably seen the news from Europe. The headline on Politico read, “Bordeaux bloodbath! France pays winemakers to dig up vines.”  The French government has allocated €120  million to subsidize the removal of as many as 30,000 hectares of grape vines in the Bordeaux region due to unfavorable market conditions, according to EuroNews. That’s about €4,000 per hectare. The Bordeaux program is part of a bigger plan to take as many as 100,000 hectares (out of a total of 800,000) out of production.

It seems to me that the numbers are both big (100,000 hectares removed?) and small (€4,000 per hectare). American growers will rue the fact that they generally don’t receive subsidies from anyone when they are forced to grub up vines. The French are both lucky and not.

Grubbing up is a hardy perennial. France isn’t the only country that has to pull out surplus vines today and this isn’t the first time, either. I looked back in The Wine Economist archives to see when the topic of grubbing up first appeared on these pages. Here is what I found. You’ll note that I was skeptical about the EU program when I wrote this back in 2008. New Zealand’s earlier vine-pull scheme turned out well, I noted, but ripping out vines is only a temporary fix unless there are associated policy and structural changes to alter the market balance. I expect the same holds true today.

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Grubbing Up / The Wine Economist / May 6, 2008

Grubbing up is one of my favorite wine economics terms. It means to pull the vines up by the roots and replace them with other agricultural crops. It is a harsh term, just as it sounds, because it is the opposite of wine — it is anti-wine. Grubbing up isn’t something that a wine lover contemplates with ease, but sometimes it is necessary. The European Union’s Council of Ministers has recently finalized a grubbing up scheme for the EU and it is probably a good idea, even if it may not work.

Watering Down the Wine Lake

The problem is that EU wine production vastly exceeds demand with the result that thousands of liters of wine must be bought up by the EU each year and distilled into alcohol to prevent prices from dropping through the floor. The distillation price support only encourages continued production, waste and expense. It is a mess — a wine lake, as people say — and it has to stop.

A fairly radical plan was introduced a few years ago, one that would have paid farmers to grub up thousands of hectare of vines and introduced market reforms to allow (by deregulating) and to encourage (through supporting programs) European winegrowers to compete more effectively with New World winemakers who are taking their markets.

The package that the Council of Ministers agreed last week is significant even if it is less radical than the original initiative (Decanter magazine called it “watered-down” — never a good thing when you are talking about wine). The program called for subsidies to encourage winegrowers to eliminate up to 175,000 hectares of vines (versus 400,000 hectares in the original proposal), limit chaptalisation (the addition of sugar in the wine-making process) rather than eliminating it, and market-based reforms that encourage and enable winegrowers to compete on world markets (through varietal labeling of wines) rather than hide behind protective barriers.

I’ve been reading up on the details of the final EU plan and it is pretty interesting.  The program includes money for grubbing up, of course, and deregulation of wine labels, removal of some vine planting restrictions (so marketable grape varieties can replace uneconomic grubbed up varietals), funds for wine promotion abroad, and so forth. Like any EU program, it is a complicated balance of economic reality, fiscal feasibility and political necessity.

The idea is to help the European wine industry transition to a new market environment, where export markets are growing, domestic markets shrinking and competition is fierce. It is not unreasonable to think that policies like this could work. They worked in New Zealand in the 1980s, for example.

Lessons from Kiwi Wine History

New Zealand today is famous as one of the great success stories in the world wine market. A small nation in an unlikely location, it punches above its weight in the global wine market, holding the title as champion exporter. Not in quantity, obviously, but in price. New Zealand has the highest average export price of any wine producing country.

But such was not the case 25 years ago. New Zealand suffered from a surplus of mediocre wine that could only be sold domestically behind high protective barriers. The industry collapsed with many failed firms from a combination of bad wine and surplus production. The government paid to grub up vines and then opened the market to international competition. Cheap but better wines from Australia flooded in to fill the domestic bulk wine market, leaving New Zealand producers only one choice — make better wine for export. They have done so brilliantly. Their success inspires the EU reforms.

It would be a mistake to think that what worked so well in New Zealand in the 1980s will work equally well in Europe today. It is unlikely that the EU would be willing to let its wine sector reach the sort of crisis that New Zealand experienced and that motivated the dramatic reforms implemented there. If big change comes from big crisis, as I believe (I wrote a book on this theme), then Europe is unlikely to see big change. The social cost of crisis is just too great. The guiding principle of EU policy is to prevent crisis, which makes change that much harder to effect.

Comparing New Zealand to Europe is problematic in other ways, too. New Zealand’s wine production is tiny — a drop in the bucket, really — whereas European producers account for well more than half of all the wine in the world. New Zealand’s grubbing up program may have been difficult, but only 1500 hectares were uprooted rather than the “watered-down” 175,000 set for the EU.

Changing the Rules of the Game

The principle of the EU wine reform scheme is sound, yet many reports that I have read are pessimistic. I think this is mainly because the final reforms are so much more timid that the initial proposal. But there are other reasons for concern.

One thing that economists have learned over the past 25 years is that institutions matter. This is another way of saying that economic forces do not always produce the same results. If the “rules of the game” are different the laws of economics will produce different results. Institutions are the rules of the game in life. Dani Rodrik, my favorite development economist, makes this point in his recent book One Economics, Many Recipes. The nature of local institutions, public and private, formal and informal, shapes the economic landscape in important ways.

This idea applies to the EU reforms in particular. Take the grubbing up scheme, for example. An incentive to repurpose large but unprofitable vineyards in Australia, for example, might well meet with an enthusiastic response because the institutions of wine growing there are different, with large vineyards and a consolidated industry. But European vineyards are much different and represent a completely different model.

Many vineyards (where much of the inferior surplus wine originates) are tiny inherited plots of a hectare or so, frequently on sites with few viable alternative uses. The rules of the game here are much different. A hectare might produce 20-30 tons if badly overcropped and, at perhaps $500 per ton at the local cooperative, gross revenues are too small for a family to live on but too great (compared to alternative uses) to give up. It’s an institutional trap that might be solved by consolidation, but making large vineyards out of these scattered small plots is necessarily costly and difficult.

Under these circumstances growers are likely to hang on to their vines for years rather than accept a modest one-time payment. Grubbing up might need to be forced, not voluntary, to have much effect.

New regulations to allow wines to be labeled according to grape variety (rather than the traditional local geographic designation) might be attractive to a large and distinctly commercial wine producer, but much wine in Europe is still produced by cooperatives that have little to distinguish their wines from others apart form the local designation. What advantage would they have as simple varietals in a world awash with good varietal wine?

A Certain Vision of Wine

It is possible to envision a future where the reforms can work, where the marginal vineyards have gone out of production, where consolidation has increased efficiency and where branded varietals can compete with the world market. (I have even seen some early attempts at EU branded varietals in the discount bins of a local store — more about this in a future posting.) I think it is possible that this vision may be realized — eventually.

But oh, it is such a big jump. The institutions of the small family vineyard and the local wine cooperative seem to me to make these reforms much more difficult. New Zealand’s success will be difficult to repeat.

Wine Film Review: SOMM Cup of Salvation

SOMM Cup of Salvation is a new release from the talented team at SOMM Films who have already given us SOMM, SOMM: Into the Bottle, and SOMM III. Their wine-film catalog now also includes a streaming channel called SOMM TV. If wine is your passion and video is your medium, you can have it all pretty much 24/7.

SOMM Cup of Salvation is now available via Apple, Amazon, and SOMM TV streaming platforms and is scheduled for limited theatrical release very soon. Here is a link to the new film’s official trailer. It is worth seeking out. Sue and I approach wine films with caution because we’ve seen so many disappointing ones, but Cup of Salvation gets our top score, two wine glasses (sort of like two thumbs up, get it?). Here is our review.

What’s the Story?

Cup of Salvation unfolds in several layers. In the broadest terms it is the story of wine’s cultural importance. Wine might be just a casual drink to many people, but its meaning runs deep and what happens to wine can be a mirror of what happens to society. This is wine as religion, philosophy, and identity.

The Cup of Salvation story takes place mainly in Armenia, sometimes in Iran, and a little bit in Oregon. Armenia, which along with Georgia is arguably the birthplace of wine, is struggling today to restore wine to its rightful place. Armenia suffered repeated invasions and abuse at the hands of outsiders over the centuries and the historical vineyards have suffered, too.

When Armenia came under Soviet rule about a hundred years ago many of the ancient vineyards were destroyed, replaced by industrial farms growing grapes for brandy production. In the Soviet system of specialization, Moscow dictated that Georgia (Stalin’s home) make wine and Armenia make brandy. So the old vineyards, winemaking traditions, and wine culture survived on the margins and under the radar. This is wine and ideology, geopolitics, and James C. Scott’s theories of oppression and resistance.

With the collapse of the Soviet Union, the opportunity appeared for Armenian wine and society to emerge, but the road was not a smooth one.  This is where things get personal as we meet the bold and charismatic Vahe Keushguerian (creator of the Armenian sparkling wine brand Keush)  and his more cautious but very brave daughter Aimee (who makes Armenian wine from indigenous grapes under the brand Zulal).

Vahe and Aimee Keushguerian (shown here in a still from the film) are part of the returning Armenian diaspora who seek to preserve Armenia’s wine history and create its future. The story of what they do in Armenia, why they do it, and what it means to them and to others, is at the heart of the film.

Risk is a strong theme. Some of the very old, very high-elevation vineyards are in an Armenia-Azerbaijan war zone (Vahe’s winemaking cellar/bunker is fortified to resist bombs. Yes, that’s a flak jacket he’s wearing in the photo.)

And then, as if there isn’t already enough risk, there is the crazy idea that punctuates the film. Iran is right next door. Iran has a long history of wine growing. Grapes are still grown, but no wine. The authorities would never hear of it. So, why not smuggle grapes across the border into Armenia and make the first Iranian wines in 40 years? What could go wrong?  It would be, if you could do it, maybe the riskiest wine in the world (although there are vintages from Syria and Lebanon that would compete for that title).

The tale of the smuggled Iranian grapes makes up the last third of the film. Tensions and emotions are revealed and released.  The meaning of wine is shown, not explained, and it is hard not to be moved.

Where Did the Idea Come From?

I asked the film’s director, Jason Wise, how the pieces of SOMM Cup of Salvation came together. The answer, he told me, is that he was in Armenia working on a completely different project (set for release next year) and met Vahe Keushguerian. Vahe’s story of Armenia’s wine renaissance was compelling and seemed to demand a film of its own.

And then Vahe’s Iranian wine project came on the radar and I think that lights must have started flashing. Wise knew about Moe Momtazi from another film project. Momtazi and his wife Flora are Persians who fled Iran many years ago, eventually settling in the Willamette Valley, where they founded Maysara Winery and Momtazi Vineyard. They carried with them as they escaped across the border an understanding of Iranian wine and its potential.

Momtazi’s Persian origin story is well known in Oregon (I wrote about the Momtazis in my 2013 book Extreme Wine, for example), but Wise was talking with him about something else. Momtazi is well-known for his commitment to biodynamic wine growing. Once Wise learned the Iranian backstory, the dots started connecting and the new film’s story emerged.

Why the Film Works

Cup of Salvation works for many reasons. First, it is beautifully filmed and that is always a good thing. The story is strong, too, especially the Iranian connection. But it is the characters that dominate the film, Vahe and Aimee  Keushguerian most of all, but also Iranian-American winemaker Moe Momtazi and his daughter Naseem.

The characters are strong and the emotions authentic. It is hard not to connect with the people and through them the wines. There is even the subtle thread of daughters worrying about fathers to think about. Memorable.

Sue and I have to admit that some factors probably predisposed us to like this film. We first tasted the Keush and Zulal wines last year thanks to samples provided by Storica Wines, the U.S. importers.  And we know and like Moe Momtazi, whom we met when I spoke at the International Pinot Noir Celebration in Oregon several years ago.

Even without these personal connections, however, I think we would be sympathetic to the Armenian wine story because of what we learned when we visited Georgia when I spoke at the UNWTO conference there. Georgia, remember, was lucky to get the Soviet wine franchise while Armenia was assigned brandy production. But it wasn’t really a gift because the Soviet wine system was focused on industrial production of sweet wines. As in Armenia, the task of preserving the essence of Georgian wine was left to families tending their grapes and making traditional wines. Our sympathy for the Georgian producers trying to revive their industry is, I suppose, part of our reaction to this excellent film about Armenia and Iran.

I know a critic who sets a pretty high standard for the wines he chooses to write about. They must be delicious, of course, but that isn’t enough. They also need to tell a story and to reveal something meaningful about people and places or maybe values and ideas. We are not wine critics here at the Wine Economist, but the Armenian wines we have tasted were both delicious and told interesting stories. Everyone we’ve shared them with came to the same conclusion.

We are not film critics, either, but we set something of the same standards when it comes to wine films. They should entertain, but that’s not enough. Somm: Cup of Salvation is a pleasure to watch, that’s for sure, but the stories it tells, the questions it asks, and the truths it reveals make it something special.

Raise two glasses (or more if you have them) to SOMM Cup of Salvation.

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Storica Wines is currently offering a “Sip & Stream with SommTV” package that includes a 4-pack of Armenian wines featured in Cup of Salvation bundled together with free access to the SOMM TV channel for the rest of 2024. Here is a link to the offer details.

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There is a fine film about the Georgian wine struggle, which we reviewed here in the Wine Economist back in 2018, “Our Blood is Wine.”

Second Thoughts on Pinot Grigio?

Sue and I find that we are having second thoughts about Pinot Grigio. And that’s a good thing.

I am not quite sure where and when it began, but we must have had a series of disappointing Pinot Grigio (PG) experiences. Maybe we were at too many receptions where PG was offered as the white wine alternative to Chardonnay. The wines seemed designed to avoid offending anyone, with no distinctive characteristic to raise eyebrows or draw attention and no rough edges either.

Pinot Grigio became a reliable cooking wine at our house, but not something that we’d go out of our way to drink.

Suddenly this Summer …

Then suddenly this summer something changed and now we find ourselves on the lookout for interesting PG wines to try. I think it started when we flew to northeast Italy to visit the Collio DOC region. We spent two mornings blind-tasting dozens of Collio wines: Ribolla Gialla, Friulano, Malvasia, Sauvignon, Collio Bianco. All of them were interesting and delicious.

But it was the Pinot Grigio that surprised us. We spent an hour happily working our way through 14 different Pinot Grigio Collio DOC wines. The wines were different from the stereotype imprinted on our memory. The differences in terroir and vintage came through clearly. If this was Pinot Grigio, we decided, we needed to pay more attention.

Then we started tasting Friulian Pinot Grigio wines made in the traditional copper-color Ramato style, which someone described as somewhere between Rosé and an Orange wine. These wines were recognizably still Pinot Grigio but taken in a different direction. How interesting.

Serious Fun with Pinot Grigio

Back home, we started looking for Pinot Grigio with character and we found interesting Pinot Grigio wines at a local tasting of Elena Walch and Cantina Terlan wines from Alto Adige. Different from the Friuli wines and different from one another. Fascinating. A trip to Total Wine gave us more to drink and think about. It was interesting that Ramato-style wines were featured in the Pinot Grigio section.

We even enjoyed a sort of “back to the future” Pinot Grigio from Friuli producer Eugenio Collavini. Their delicious Villa Canlungo Pinot Grigio DOC Collio is the result of Manlio Collavini’s mad experiment. It is a white wine, one of the first white Pinot Grigio wines made in Collio back in the day when Ramato set the standard. Now white is the norm and Ramato gets attention. Funny how things get all topsy-turvy!

We re-discovered an old favorite at a wine dinner that our friends at Ricardo’s  Kitchen & Bar in Lacey, Washington, organized. It was Julia’s Dazzle from the Long Shadows winery. They let their Pinot Grigio grapes get very ripe indeed, and the dazzling result is more like a Rosé.

But wait, there’s more. The Graziano family was among the first to plant Pinot Grigio in California and their wine stood out as we began exploring American products. Grapes from old vines in Mendocino are barrel-fermented and sur lie-aged for their Monte Volpe PG. It turns out that if you treat Pinot Grigio like a serious wine, you can make a serious wine with character and complexity. Who knew?

All Along the Wine Wall

Sue was prowling the wine wall at the Proctor Metropolitan Market and stumbled upon a wine with “Ramato” in big letters. But it was from Washington, not Italy. So we had to try it. The deeply colored and intriguing wine is made by Sage Rat wines in the Rattlesnake Hills AVA near Yakima, Washington. It is an example of how the idea of interesting Pinot Grigio (and the traditional Friulian skin-contact method, too) is rapidly spreading.

We’ve changed our minds about Pinot Grigio and are now on the lookout for interesting PG wines. So what’s the point? Well, there are a lot of wines that have been stereotyped in one way or another (think post-Sideways Merlot, post-Yellow Tail Syrah/Shiraz, or post-Blue Nun Riesling). Stereotypes and fashions are powerful forces, but once you break through them you often discover a more complex and interesting world. That applies to Pinot Grigio … and a whole lot more.

No one likes a wishy-washy person, but sometimes it is good to have second thoughts.

Asti: the OG LA Wine

Over in Beer World, the NA (non-alcoholic) category is booming. Sales by market leader Athletic Brewing Company continue to grow while more and more other brands introduce NA products. There is a lot of interest in NA here in Wine World, too. The most-read single Wine Economist article of this year so far is an essay on “Non-Alcoholic Wine and the Second-Glass Test.”  However, NA wine remains a niche product compared to NA beer.

More of the Wine World focus is on LA (low-alcohol) wine, which is promoted variously as “light,” low-calorie, “better for you,” and so on. Many new products have been launched to take advantage of interest in LA wines. Some producers seem to think this is a new category, and it may well be to some consumers.

Everything Old is New Again?

We recently received a story pitch for a brand that seemed to think it invented the idea of LA wine. That rubbed the wrong way because low-alcohol wine has a very long history. German Rieslings, for example, have long featured their moderate alcohol (they might have been the first “session” wines). Stella Rosa wines, which have alcohol levels so low that they have to include nutritional data on the labels in addition to the usual alcohol warnings, are very popular and widely distributed. Riunite Lambrusco, once the most popular imported wine in the U.S., is low-alcohol, too.

The wines from Asti — still Moscato d’Asti DOCG  and sparkling Asti DOCG (aka Asti Spumante) — must be included on the list of OG LA wines here in the U.S. market and around the world, too. The abv for Moscato d’Asti DOCG hovers around 4.5 percent, considerably lower than most white wines, and Asti DOCG is a bit higher but still relatively low at 7.5 percent. Residual sugar levels are higher because the wines are not fermented dry, of course, but the best of these highly aromatic wines achieve good balance with higher acidity, although I admit I have sampled a few over the years that were unbalanced on the sweet side for my taste.

The Asti Consortium sent us a sample of each wine and they represented the region very well. Bava Bass Tuba Moscato d’Asti DOCG and Gancia Asti Spumante DOCG  were well-balanced and delicious. We sipped the Gancia Asti sparkler as an aperitif on a warm summer day and the Bava Bass Tuba Moscato d’Asti paired very well with a fresh fruit dessert. We tried  Moscato d’Asti DOCG along with some other wines paired with chocolate last year and were surprised by how well they worked with Chocolate Moonshine French Vanilla Fudge.

Global Interest in OG LA

Who drinks the LA wines of the Asti region? Judging by the ready availability of the wines, I would say that the market is quite large here in the United States. Costco regularly features its own Kirkland Signature brand of Moscato d’Asti, for example, in addition to other labels of this wine.

I asked the Asti Consortium for sales data and the results surprised me a bit. The pie chart above shows 2023 sales for sparkling Asti DOCG. Most is sold in Italy and the rest of Europe but the Russian market is very large, which makes sense because sparkling and sweeter wines are very popular there. In fact, 2023 might have been a particularly good year for Russian sales. The Economist reports that Russian government stimulus helped spending on imported sparkling wine increase by 80 percent that year!  The Americas and Asia take their share of the Asti DOCG pie, tool.

The sales pattern is very different for still Moscato d’Asti DOCG. The U.S. market is by far the most important followed by Italy, Greece, South Korea, and Switzerland. No wonder these wines are so easy to find on U.S. store shelves. U.S. consumers drink about two of every three bottles sold in the world! Amazing.

The sudden surge in attention given to LA wine may be new, but consumers have been enjoying LA wine for a long time. There are lots of new brands and concepts, that’s for sure, but the OG LA wines like Moscato d’Asti DOCG and Asti DOCG endure for a reason.