The 3rd Dulwich Beer Festival

On a oppresively and unseaonably hot afternoon in late May, myself and a friend headed down to the Dulwich Beer Festival, now in its 3rd year it is one of the newest festivals on the scene, first established by the good folk of South East London CAMRA in 2024. Each year since its inception they have held the festival at the Dulwich Hamlet FC stadium on Champion Hill which has been going strong in various guises since 1912. The festival has gradually increased in size over the years, with now over 50 cask ales available, along with the obligatory cider and perry bar, and the curious inclusion of a mead stall. Many of the beers at the festival were locally sourced from London breweries, which is hardly suprising as the likes of Portobello and Southwark breweries are the main sponsors. We arrived shortly after 1:30pm, and the venue was abuzz with activity, filled to the rafters with punters mingling in every corner. It was the final day of the three day festival, yet the organisers were struggling to cope with demand, and there was less than 20 cask ales left, even at this stage in the day. Whilst I browsed through the brochure, I disovered to my surprise that the organisers managed to acquire some additional beers not mentioned in the catalogue, and unfortunately they were not able to update the printed brochures in time. Although this instance frequently occurs in beer festivals up and down the land, the barman serving me could have been a little less brusque when informing me about the late changes to the program. 

For my first libation of the day, I went for some Harcourt Red (4.8%) a red ale from Brockley Brewery, which is incredibly just over 3 miles from the venue. It was distinctly fruity yet equally bittersweet, with bags of roasted malt suggesting a rich and varied malt bill, while notes of caramel gave it an underlying sweetness reminsicent of toffee apples. This was cut through by the grassy hops in the background which dovetailed with the other flavours to create a pleasing experience. Although blood red in colour, it felt more like a premium bitter in its setup. I've sampled this beer on several occasions in the past and it has never let me down, as usual it delivered in quality and would be a hard act to follow. Alas, I narrowly missed out on some Hedgerow Pale (4.5%) - Portobello, although I was graciously offered on the house the yeasty dregs from the bottom of the barrel, it was a gloriously medley of hops and fruit salad, where sweetness led to a intensely bitter aftertase, it was such a shame I couldn't have more. With the supply of pale ales fast drying up under the intense sun, I quicky snapped up some Ernest Single Hop (5%), a pale ale from Southwark Brewing Co., located in the northern fringes of the borough. It was a case of buyers remorse, as the Ernest hops struggled to impart their flavours, whilst the malty backbone lacked any punch making it oddly sessionable given its strength. While there were some citrussy grassy elements out in the heather, it lacked body and substance, while the aftertaste left a bland taste in my mouth. This was not helped by the temperature of the barrel, as the beer was served warm which made it hard to appreciate the flavours. I found this to be the case for a number of available beers upon sampling, clearly the cooling system was breaking down under the strain of the heat. By now the heat was rising, and we were beginning to wilt under the glare of the Sun. The dark ales by now few and far between, so I went for some London Porter (5%) - Kernel, I've been aware of this beer for quite a while now yet I've never managed to sample it. A throwback to the classic London porters of yesteryear, this is a beer packed with history as it is based on a 1896 recipe from Whitbread; sticking to tradition the brewers used a large proportion of brown malt blended with black malt and East Kent Goldings for additional flavours, making this beer a truly authentic Victorian porter. I was met with a rich and complex roster of roasted malt, with elements of coffee, dried fruits and dark chocolate giving off to a lingering bitterness, while a whisp of charcoal gave it a smokey undercurrent and a rousing finale. The mouthfeel was medium bodied, verging on the creamy, which intensified the flavours with every sip making it thoroughly moreish. It is easy to see which this beer is so highly lauded, judging from the high level of craft that goes into the brewing process. For the final beer of the day, I sampled some Saxon Strong (6.5%) - Mighty Oak, oddly the only non London beer I sourced that afternoon. A barley wine on the lower reaches of the scale, the heat from the barrel killed off any chance to appreciate its depth of flavour. I could detect some profound bitter notes coming from the hops, dovetailed by a underlying caramel like sweetness from the malt. Yet I was unable to appreciate the background hints of dark berries, toffee and wood as mentioned in the program blurb, as the intensity of the heat made the beer increasingly inedible and hard to drink. In the end I had to waste some of it, which is something I thought I never had to resort to. By this time the combination of starchy chips and a succesion of warm beers was starting to pay havoc with my digestive system and I had to call time gentleman please on my trip before it took its toll any further, we left the venue after a measly 90 minutes.  

While the festival was clearly popular, it was a miserable experience made worse by the hot weather. There was a poor selection of beers, made worse by the lack of a delayed barrel release policy, which I thought the organisers would have got the hang of by now in their third year of running. For the beers that were left, the cooling system was breaking down to such a degree that many of the beers were served warm, making it hard to appreciate the flavours and equally hard to digest. The choice of venue was also poor, while there was plenty of seating in the stands, there was only a sprinkling of picnic tables by the bar which quicky filled up, so on the whole it inaccesible to the less mobile. This wasn't helped by the one bar layout within a narrow area which quickly led to overcrowding as the admission numbers intensified. If this festival is to continue long into the future, a change of venue is strongly advised, as this stadium is clearly not the right setting to hold a beer festival as it grows in size. On the whole it was a complete shambles from start to finish, this festival is not worth ticking off on the ol' bucket list, you'd be better off down the pub instead. 

Beer Review: St. Austell Big Job

Name: Big Job

ABV: 7.2%

Brewery: St. Austell

Style: DIPA

Location: St. Austell, Cornwall

Aroma: A heap of pungent tropical fruit assaults the senses, followed by a medley of grassy hops that quickly dominate the proceedings. There are elements of pine, and fruit drops thrown, with a whisp of white rum that is vaguely intoxicating, and speaks of its high strength. 

Colour: Golden with a one finger ivory coloured head. 

Flavour: A dry bitterness is immedietely noticeable, followed by a rush of flavours that leads into a battleground of tropical fruits such as mangos, paypaya, lychess and guava, contested by a potent citrussy elements that draws the tastebuds collections. After the initial assault, there is a chewy, almost caramel like flavour to the malt, a syrupiness remiscient of marmalade, whilst the aftertaste is exceedingly hoppy and warming.

Verdict: Intense flavours pummel the senses, bold and punchy, its leaves a lingering effect long after each sip. The brewer's craft has been placed over overdrive here, yet the flavours are well balanced, rather than tacky, everything from the malt to the hop elements is proportianlised and works well together. This is one beast of a beer. 

Rating: 8/10

The Prestel Factor

CAMRA’s website is nearly three decades old, yet years before the Internet became a reality, CAMRA was already making baby steps towards the world wide web. A decade before the introduction of the Internet, there was already a similar ‘web’ based system doing the rounds called Prestel, commercially launched nationwide in September 1979 by Post Office Telecommunications (BT Group PLC), a division of the Post Office, it was markedly the world’s first public viewdata service. Prestel was the brainchild of Samuel Fedida (head of the Computer Applications Research Division), who hit upon the idea following the failure of the data-intensive Picturephone system of developing a viewdata service that used simple text and images which required only a low bandwidth. He originally envisioned for the Post Office to play an active editorial role, but management sought to encourage other organisations to generate content instead.  Similar to the Internet, Prestel offered a wide variety of content, ranging from the stock market, central government departments, national and local news, sports, travel, horoscopes and consumer motorist advice. A number of major organisations established their own dedicated IPs like British Rail, RAC, Sealink and Reuters, retailers including WHSmith and Currys, as well as charities like Save the Children. Users could access Prestel using an adapted television set, via a keypad or dedicated keyboard, while home computers users could also adapt their sets using an acoustic modem. Initially, most people viewed Prestel as an expensive gimmick aimed towards business, this changed in 1981 when BT reduced the quarterly subscription fee for home users to £5, along with the prices of equipment. Unlike the Teletext system, it was fully interactive and unlimited in size, the service expanded its capabilities with the launch of Mailbox the same year, which enabled instant messaging between different terminals, and in time users could also do online shopping, home banking, book holidays and tele-software, tropes that were later synonymous with the Internet. 

Less than two years after Prestel became available nationwide, in April 1981 Hertfordshire became the first county in the country (outside of the central terminals in London) to launch its own localised Prestel service. It was known as HERTS288 (also its front-page number), which was set up by a consortium comprising of the County council and several district councils to provide a community information service. Initially seven district councils signed up to the scheme, but this was later expanded. At the touch of a button users could find information on educational and recreational facilities, local businesses also brought space for advertising pages, the first to buy space was the National Reprographic Centre for Information based in Bayford. In late 1982, HERTS288 approached CAMRA about setting up an electronic guide for Hertfordshire’s top real ale pubs. CAMRA went along with the idea and subsequently established a Prestel page that would centre around Hertfordshire’s top 100 pubs with the entries taken from the 1983 edition of Real Draught Beer in Hertfordshire. The pubs were arranged by town and grouped by district, some pubs (and breweries) had full information pages which consisted of an address, a brief description of the venue and beers currently available, like The Barley Mow pub in St. Albans and Victoria Brewery based in Ware, who were among several businesses that purchased pages of advertising respectively. After several months of development, the service was launched at a joint meeting of four district CAMRA branches on 19th April 1983. Along with a Top 100 pubs page, the site also offered a news section detailing upcoming beer festivals and other local events, while a Pick of Pubs feature provided an interactive element for users, it was envisioned that users could vote their approval and disapproval of a pub by filling in a response frame (form) by including the pub name and rating out of 10, quality of beer, quality of food, general impression and service, along with additional comments. The information was then sent to Dave Burns who was the editor of the service, markedly if they received more than three detrimental reviews for a pub, CAMRA would send an official round to the pub in question to assess its continued suitability in the guide, if it failed to reach expectations then the pub would be removed from the top 100. This particular feature was demonstrated in an episode of Food & Drink broadcast on 5^th May 1983, a rare use of computer technology in a program that normally showcased the UK’s culinary and beverage industry. 

 

Over the next few months, there were sporadic mentions of CAMRA’s Prestel service in the press, from a report in the Hertford Mercury and Reformer to several brief mentions in issues of the Hertfordshire Newsletter, the branch magazine for CAMRA in Hertfordshire at the time, its final mention appeared in Issue No.68 published in December 1983, as part of a year-long retrospective of highlights. Despite the fact that Prestel service was available to users nationwide, it appeared that CAMRA’s Prestel platform only appealed to a small local audience and no other branches outside Hertfordshire adopted the scheme. This was reflective in the slow uptake of subscribers of Prestel, around the time of CAMRA’s launch on Prestel, there were only 18,000 subscribers, 2500 of them business. Home users were put off by the high prices, a monochrome Prestel television set cost £650, more than triple the cost of a conventional colour TV at the time. Although the number of subscribers increased later that decade, so did the subscription fees, and by the early 90’s the service was gradually wound down due to financial issues before being discontinued in 1994, just as the Internet was in ascendance. While CAMRA’s brief flutter with Prestel was merely viewed as a blip at the time, it was a window into an interactive future that would expand the organisation’s reach. In November 1996, CAMRA’s website launched on the fledgling Internet, succeeding where their dalliance with Prestel failed a decade earlier; it ushered in a new era that would revolutionise the organisation.

 

Beer Review: Great Newsome Liquorice Lads Stout

Name: Liquorice Lads Stout

ABV: 4.3%

Brewery: Great Newsome

Style: Stout

Location: South Frodingham, Hull, East Yorkshire

Aroma: Jammy notes of plum, followed by a whisp of liquoriche and the familliar notes of coffee, burnt toast and roasted malt associated with stout.

Colour: Dark ruby with a one finger ivory coloured head.

Taste: A potent sharp bitterness assaults the senses, leaving a lingering coffee like essence followed by a mellow fruitiness in the backgroud, the liquoriche seems subdued, almost non existent, though the lack of sweetness makes it seem tart. Mouthfeel is thin and watery.

Verdict: It fails to live up to its expectations, the use of liquorice is more of a marketing gimmick, when it cuts to the chase it fails to make itself heard, while the other elements seem light on flavour other than the roasted malt. The mouthfeel is also a letdown, leaving it a watery mess without any discernable character.

Rating: 4/10 

Ever Decreasing ABV's

Recently the likes of Timothy Taylor unveiled a new beer called Blonde (3.8%) yet beneath the surface, it is essentially a rebranded and weakened version of their established product Knowle Spring (4.2%) which until recently was available on cask. This drive to produce weaker beer was coined Drinkflation, a term coined three years ago by Sean Poulter from the Daily Mail, which means punters unwittingly buy weaker beer while the prices in the pub stay the same or in many cases increase. Poulter adds “while the reductions may appear small, they generate a tax saving of 2p to 3p on every bottle and can made. Rather than passing this saving on to drinkers, the cash is being pocketed by the brewers and retailers.”[1] These changes were first brought in by reforms to the Alcohol Duty system in August 2023, when the government overhauled the existing four band system by introducing six standardised alcohol duty bands across all types of alcoholic products. At the same time, the government increased alcohol duty on all drinks, which resulted in the biggest tax increases on higher-strength beverages in half a century. So, a beer at 5% abv would be taxed at a higher rate than one below 4%. Although the difference was a few pence, millions of pounds could be saved in taxes. Colin Angus, a research fellow from SARG (Sheffield Addictions Research Group) noted at the time if a brewer reduced their beer 0.3%, they could save an estimated £250m on duty payments to the government.[2] Conor Reynolds adds “for a brewer in the ‘at least 3.5% but less than 8.5% abv’ range, they would have to knock 0.5 percentage points off the abv to offset the 10% duty increase.”[3] In anticipation of these changes a number major breweries took the plunge on their popular brands, in June that year Shepherd Neame announced they would be lowering the ABV of two their beers, Spitfire Amber Ale decreased from 4.5% to 4.2% while Bishop’s Finger dropped from 5.4% to 5.2% respectively, a representative claimed this was due to consumers increasingly choosing beers of lower alcohol content as part of a healthy lifestyle. Colin Angus notes “sometimes brewers make the case that they have made these reductions in strength levels on health grounds. Given their historically strong opposition to public health policies, though, the motive is much more likely to be financial.”[4] In the case of Sheps, it was discovered that the brewer saved 3p on Spitfire, and 2p on Bishop’s Finger per every 500ml bottle. The brewery admitted like many in the food and beverage industry they faced siginificant increases in the cost of raw materials, energy and products like glass. They added “these increases are well above the headline rate of inflation. While we are doing everything possible to mitigate these costs, we have had to increase the price of all our beers.”[5] In this instance the term Drinkflation can be easily applied since the consumer isn't financially benefitting from the brewery's cutbacks. Moreover, Greene King used similar comments about financial issues when they reduced the ABV on products including Ruddles Best from 3.7% to 3.4% (in bottles), Old Speckled Hen from 5% to 4.8% (bottles and cans) and their flagship IPA from 3.6% to 3.4%, yet they also noted the move was necessary in order to combat rising costs of raw materials, from malt, glass and packaging to increasing energy rates brought on by external events in recent years like the Ukraine War and the Covid pandemic, whilst brazenly claiming these changes would not affect the quality and taste of their products. While the term Drinkflation is technically correct, Reynolds argues there were various factors behind its emergence since it was brought on by freeze in alcohol duty in 2020, other cost pressures facing brewers, and the government push for lower strength-beers. Coming this angle it seems Drinkflation was an inevitable outcome due to a multitude of issues that eventually had effect on not only the brewing sector but the entire food and beverage industry.

The radical changes to alcohol duty trickled further down the brewing industry, Timothy Taylor cut back the likes of Dark Mild and Golden Best from 3.5% to 3.4% respectively, the same went for Hook Norton’s signature product Hooky and Lakes Brew Co's Pale Ale respectively, while their former neighbours Hawkshead (which now brews in Flookburgh) drastically cut back their iconic Windermere Pale from 4% to a mere 3.4%, while Revival from Moor Brew Co’s radically came down from 3.8% to 3.4%, similarly the likes of Banks Amber Bitter decreased by a similar strength and Hobgoblin Original IPA went down from 5.2% to 4.8% on draught, after previously being reduced from 5.6% by their overlords Carlsberg Britvic. These changes weren’t just limited to session beers, even examples on the stronger end of the scale were affected like Fuller’s Vintage Ale which was cut back from 8.5% to 8.4% when it reappeared later that Autumn and Harvey’s Easter Ale which drastically came down from 6.8% to 5.6% the following Easter. Reflecting on these changes at the end of that year, the Pub Curmudgeon noted “while it is entirely possible to brew good beers at 3.4%, few if any will be improved by having their strength reduced to that level, and many of the beers of that strength tend to be somewhat thin and lacklustre. It would be a depressing prospect if that was to become the norm of British beer drinking.”[6] As 2024 crept into view, megabrewers like Asahi, Molson Coors and Heineken led the charge by reducing the strength on their popular brands. In August, Asahi which owns Dark Star lowered in strength of Hophead from 3.7% to 3.4% in order to benefit from the duty cuts, a spokesman from Asahi stated “entering the lower threshold for duty supports our ability to invest in Dark Star, including continuing to grow Hophead as a national brand.”[7] Meanwhile, consumers shared their frustrations when highlighting that these savings were not passed on, since the wholesale price remained the same. The rollbacks continued, Rebellion IPA went down from 3.7% to 3.4%, and Wild Swan from Thornbridge was trimmed back from 3.5% to 3.4%. Andrew Tindall duly highlighted “if you lose just 0.25% of alcohol in something, it dramatically changes everything from mouthfeel to sweet/bitter tastes.”[8] This was the case when Marble reduced their Pint Bitter from 3.9% to 3.4% in 2023 following introduction of the new duty legislation, after facing a raft of negative feedback from customers they restored it back to 3.9% in 2025. After the changeover, they reported sales of beer had actually increased, showing there was still an appetite for stronger beers. It’s clear from looking at a number sources that alcohol is a volatile component in the brewing process, it is a key driver in enriching beer from establishing compounds that enhance its bouquet to forming a harmonious flavour profile, the blogger Ratatouie adds “for many beer styles, ABV also correlates with the intensity of malt sweetness, hop bitterness and the overall balance of a beer. A beer’s ABV does not dictate sweetness or bitterness directly, but it often gates the level of malt complexity and hop character achievable during brewing, which in turn shapes flavour.”[9] For beers of any style or strength, as history often tells us whenever the ABV is reduced, a part of the beer’s fundamental flavour is lost, for instance when Theakston’s Old Peculier was reduced down to 5.6% during Scottish & Newcastle’s reign over the brewery, drinkers detected a distinct change in its complex flavour profile. For session beers that were developed at a lower ABV from the onset, any reduction in ABV is equally noticeable if not more so. This drive to reduce ABV in session beers creates other issues as Phil Mellows states “add on the draught relief and a brewer pays £8.42 per litre of pure alcohol for a beer of 3.4% compared to £19.08 for a beer of 3.7%. And don’t forget to take off the duty on the 0.3% too. It’s also possible that the ingredients will be cheaper in weaker beer.”[10] This in turn creates a perfect storm that potentially creates an adverse effect on the quality and marketability of established beer brands from independent and regional brewers.  

Despite a change in government in 2024, earlier this year it was announced that alcohol duty would rise by a whopping 3.66% in line with inflation at the start of February, equating to around an additional 2p on the price of a pint in a pub. In addition to this, beers with strengths ranging between 3.5% to 8.4% which were previously paying £21.78 in duty per litre of pure alcohol would now pay £22.58. As a result, British drinkers now pay 54p of duty per pint pulled in a pub, make it the third highest level of tax in Europe, behind Finland and Ireland. These recent changes pushed more brewers into reducing the strength of their beers, notably in May of this year it was announced that Adnams would be cutting back the ABV on a number of their core-range products including Ghost Ship cut back from 4.5% to 4.1%, Southwold Bitter reduced down to a meagre 3.4% and Broadside clipped from 6.3% to 6%, in turn knocking off a layer of its complexity and big-hitting flavour that the brewery waxes lyrical about. In Adnams case, James Flanders notes “the move is a direct response to the country’s alcohol duty system, which now wallops drinks at 3.5% ABV or above with a charge of around £22 per litre of pure alcohol.”[11] A spokesman from Adnams stated “These changes not only align with consumer trends but also offer us an opportunity to create more value to invest back into the growth of our brands.”[11] Yet in the bigger picture Adnams has already had a torrid financial year of late with turnover falling by 6% to £63.7million in 2025, which resulted in the brewer having to trade away their assets by selling a portion of their pub estate in order to keep down their debts, which were cut back to £9.2 million by the end of last year. Current chairman Simon Townshend blamed rising national insurance costs, minimum wage, and a wave of new employment regulations leading to the hospitality sector becoming overtaxed. So, in hindsight the increases in alcohol duty are yet another setback for the already beleaguered brewer. A government source declared “our changes to alcohol duty balance the important contribution of producers, pubs and hospitality with funding vital public services and the harms caused by alcohol.”[12] This message presents us with a double-edge sword, whilst claiming to support the health lobby they have clearly implied that the higher duties will be used to fund government (i.e. public) funded services, which some commentators have labelled as a blatant act of state intervention. Moreover, this latest rise in alcohol duty will only push more breweries to reduce the ABV further in their beers in a bid to cut down costs and reduce their existing financial troubles brought on by external factors. As a result, this all plays into the increasing sales of lower strength and no-alcohol beers which have become one of the fast-growing markets in the last several years, as Tom Haynes notes “the British Beer and Pub Association (BBPA) found sales of beers with strengths of between 1.3pc and 3.4pc alcohol by volume (ABV) have surged from just 35 million pints in 2022 to 912 million pints by the end of 2025, a 2,500pc increase.”[13] There is little doubt that the increase in alcohol duty and the subsequent reduction of ABV in major multinational beer and lager brands brought on by successive tax raids has engineered this. Yet the idea that this helps incentivize healthier drinking is a merely a smokescreen, as Albert Tait points out “brewers claim the reduction is for health reasons. However, it also allows them to save tens of millions of pounds in alcohol duty each year by falling into a lower tax threshold.”[14] CAMRA has a part to play in this, when proposals for raising the lower tax threshold of beer from 2.8% to 3.4% were first proposed in the Autumn Budget of 2021, the organisation threw their support behind these proposals, then chairman Nik Antona stated “cutting tax for lower ABV drinks will incentivise lower strength alcoholic drinks, whilst new financial support for smaller producers.”[15] Yet by supporting this, they helped encourage the large-scale watering of higher strength beers, and invertedly help the mega-brewers to corner their monopoly on the market and decrease the amount of choice in pubs, shutting out the small brewers in the process in what could be seen as a repeat of the 1989 beer orders act that led to the rise of the pubcos. Tim Webb (chairman of CAMRA’s beer and cider campaign committees) noted “Global brewing giants, however, have diluted their recipes to hit the lower tax band, without reducing prices, and sometimes hiking them. This is something that independent brewers simply can’t afford to do or won’t do because it will compromise quality.”[14] Yet their position on this continues to be muddled as current CAMRA chairman Ash Corbett-Collins recently explained “ensuring lower strength beers are served on the bar is essential so consumers have more choice; however, that doesn’t mean that consumers want brewers to lower the ABVs of their existing beers.”[13] In turn by supporting lower strength beers, CAMRA has managed to harm the very industry they were established to support.

For the foreseeable future it looks like more breweries across the UK will jump on the band wagon and reduce the strength of their existing beers in a bid to avoid the wrath of the taxman. From a historical standpoint it is clear that the strength beer has varied depending on the financial situation and politics of the time, indeed there’s nothing new about the recent raft of cutbacks in beer strength since we’ve been here before, during WW1 the pro-temperance Liberal government rose the level of beer duty in the wake of the Defence of the Realm Act in August 1914 which gave the home secretary powers to control the production and supply of alcohol, Roger Protz notes “in real terms, allowing for war-time inflation, the increase in duty between 1914 and 1920 was a staggering 430 per cent.”[16] This in turn pocketed a handy £120 million for the government; which resulted in scores of breweries having to dilute or in some case withdraw their beers entirely, leading Britain having the weakest beer in the world at the time. The same tactics are now being repeated in the modern age as recent governments have increasingly utilized the brewing industry as a cash cow, while claiming the reduction of ABV in beers is all for the good of public health. The diluting of popular beer brands will inevitably have effect on the consumer, while some would embrace the changes postively, others will reject the reduction of strength and cite it as an example of declining quality and shy away leading to a decline in sales. If this underhand scheming from the government is not called out for what it actually is, then the changes to the brewing industry will be irreparable.

List of References 

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[1] 'After shrinkflation, now it's drinkflation!' by Sean Pouler, Daily Mail, 17^th June 2023 

[2] Alcohol Research Group at the University of Sheffield 

[3] 'What is ‘drinkflation? Maybe more than just a cash grab' by Conor Reynolds, Just Drinks 23^rd June 2023

[4] ‘Brits Are Getting Less Booze In Their Beer Due to 'Drinkflation'’ by Jelisa Castrodale, Food & Wine, 20^th June 2023 

[5] 'Shepherd Neame weakens its popular beers Spitfire Amber Ale and Bishop’s Finger – but punters back move', by Gerry Warren, Kent Online, 23rd June 2023

[6] ‘Partial Dilution’ by the Pub Curmudgeon, 4^th December 2023 

[7]‘Asahi reduces Hophead ABV’ by Rebecca Waller, The Morning Advertiser, 28^th August 2024 

[8] Andew Tindall, Linkedin, January 2026

[9] ‘ABV Meaning Beer: The Essential Guide to Alcohol By Volume in Every Pint’ by Ratatouie

[10]‘Opinion: Beer Drinkers too hung up on ABV’s’ by Phil Mellows, The Morning Advertiser, 13^th November 2025

[11] ‘Major UK brewer quietly cuts alcohol content & waters down FOUR popular pints to dodge booze tax raid’ by James Flanders, The Sun, 29^th May 2026

[12] ‘Pubs face ‘last straw’ as Reeves plots £400m tax raid on drinkers’ by Tim Wallace, Telegraph, 11^th January 2026

[13] ‘Sales of weak beer rocket after tax raid’ by Tom Haynes, Telegraph, 4^th June 2026

[14] ‘Why tax raids mean your pint of beer is getting weaker’ by Albert Tait, Telegraph, 11^th February 2026

[15] CAMRA Press Release, 28^th October 2021

[16] ‘Beer and pubs in the firing line’ by Roger Protz, Protz on Beer, 9^th April 2020

Beer Review: Chiltern Three Hundreds Old Ale

Name: Three Hundreds Old Ale

ABV: 5%

Brewery: Chiltern

Style: Old Ale

Location: Terrick, Bucks

Aroma: Malty, with a dash of roasted nuts and warming spices with a residual sourness that suggests it age.

Colour: Dark brown with an off white one finger head.

Flavour: Intial bitterness leads to a background of stewed fruits with a prominent roasted malt element shoring up the rear, the combination of malts gives it a wholemeal bready note with a dash of roasted chesnuts. The hops provide the fruity element and warming aftertaste that is pleasant, not overwhelming. Overall the flavours are a dash on the sour side, which suggest age and maturity. It has touch of Trappist about it, through the multitude of flavours present. The mouthfeel is medium bodied, but not heavy due it to it being gluten free.

Verdict: A satisfying brew full of character and flavour, its bitter undercurrent is helped along with a myriad of fruity and nutty flavours that offer it a characterful counterpoint. With every sip, this warm and brooding beer leaves a mark on the senses, although the lack of gluten gives reduces it body but in return makes it more drinkable despite its strength. This beer leves a memorable mark on the tastebuds, and is a fine example of an old ale. 

Rating: 8/10