The weekend of the Summer Solstice 2025 (Sat 21^st June) saw the third iteration of the much-loved London Cider Salon take place on the 6^th floor of the Tate Modern. Against a backdrop the Globe Theatre, the “wobbly” Millenium Bridge, the Shard, St Paul’s Cathedral, and a whole host of other iconic London attractions, it was this place, at this time, that was the place to be. With a selection of producers pouring their wares from all over the world; some pre-pouring talks; a couple of masterclasses; and a post-event party, it’s really too much for one person to cover adequately without losing their marbles. I was therefore very pleased to discover I wasn’t the only Cider Review roving reporter attending the event: Bea and Brett also came along for the experience, so we divided up everything on offer, and decided to do a Zelda-esque triforce article of knowledge, wisdom, and power for all our avid Cider Review readers.

Starting at 06:45, arriving at my local train station only to see “train cancelled” on the display boards was a bit of a kicker. However, this train turned out to be only spiritually cancelled…it physically turned up on time and shimmied me down to London, mimicking the journey a fair few of the cidermakers must embark upon for events like this – from the regional peripheries (where most of the apple and pear trees are to be found) to the bustling, metropolitan centres (where most of the buying-public are to be found). There’s always a sense of anticipation and fun at these events, you just know there’ll be a producer or two that you’ve never heard of that stands out and grabs your attention with their particular style of production. The event was completely sold out this year, which I’m taking to be a very good sign of the work that Fine Cider Co are doing at promoting all things cider and perry across the capital city.

At 10am, the assembled attendees left the confines of the Corner Bar (where the inaugural London Cider Salon was held back in 2023) and headed up to the 6^th floor for two talks. The first, on the challenges and benefits of re-using 750ml bottles from restaurants and bottle shops, was a real eye-opener at overall how disjointed the whole re-use scene is in the UK. Speaking at the event, The Waterhouse Project restaurant have a deal recycling their bottles with Fine Cider Co, who collect them and then send them to Sustainable Wine Solutions to have them cleaned, sanitised, and sent out again. This is truly a drop in the ocean for glass re-use in the UK, and as Artistraw’s Tom Tibbet stated: “They do this in Germany and France like muscle memory, it’s just part of the process, which we lost here back in the 1980s.” Here’s hoping a bit more joined-up thinking can occur in the years to come. The second talk honed in on the future of UK orchards, chaired by Forum For The Future, and with guests from Find & Foster, Ross Cider & Perry, and Blue Barrel Cider. In some ways it’s bright, with the likes of Polly, Martin, and Emma all showing incredible care and consideration to these environments that form the backbone of their businesses. In other ways, it’s never seemed more at threat, with busways planned to rip through heritage orchards, and 35% juice content leading to lowest common denominator concentrate being imported in from Poland, Spain, and further afield. I, and I hope you as well, live in hope for a better orcharding future across the UK and beyond!

I’ll touch briefly on some standout ciders and perries, before handing over to Bea and Brett. We all touched base around Tom Oliver’s stand, somewhat interrogating him on what was on offer early on. No-one suspects the Cider Review inquisition (there we are Bea, I managed to find a way to segue this phrase in). His Coppy Single Variety 22 & 23 is something to seek out immediately: a perry of note from the producer that gave this tree its identity back again after around 50 years of it being lost. Next to Tom, Little Pomona was being manned by good friend of all things cider and perry-related, Ian Stott (Cidersleuth on Insta). I’m Only Sleeping, the new iteration of single variety Egremont Russet, fully fermented in stainless steel, hit all the spots I was looking for on my palate – invigorating, rich, crisp, clean as a whistle. What James is doing with this variety is nothing short of alchemy! I was subsequently joined by the utter gent Chris George, of Cork & Crown cider merchant fame (seek out his wonderful videos on YouTube and then buy yourself a cider shed). Chris and I met Adrian from Sobremesa, a Welsh beer and cider producer, with roots in the Basque country, producer a range of ciders and perries, including a bombastically tannic Cadwalader single variety cider, alongside a beautifully clean, tart, mouth-resetting Foxwhelp single variety. And to fit in one more, it was brilliant to see Mr Plume from Latvia at the Salon (Barry’s article from last year had piqued my interest) – Maris and his partner Dace were both pouring some amazing Latvian drinks, their Vintage 21 cider was right up there with everything I look for in an orchard blend: acidity, tannin, a little bit of mystery, and a long, wistful finish. Over to Bea and Brett!

---

My first London Cider Salon

Beatrix Swanson

As I walk into the London Cider Salon for the first time, my first thought is how elegant everything looks—white tablecloths on every stand, silvery Champagne buckets for spittoons, and the swanky surrounds of the 6th floor of the Tate Modern. At the Bristol Cider Salon, where copious amounts of black fabric and lighting rigs dot a venue not originally designed for them—it’s housed in a former 19th-century neo-Gothic church—you feel like you’re backstage at a theatre production. If you’ll forgive the lazy analogy, the latter is more beer festival, and this is more wine tasting.

Okay, my real first thought is of how warm it is: all those windows, and a heatwave outside. But as soon as the doors open, the atmosphere is buzzing. On that note, apologies if you were one of the many people to whom I couldn’t stop commenting on how many people there were! Even better, I kept overhearing conversations that suggested many attendees were new to the world of fine cider. As a big advocate for this underappreciated drink, this was incredibly heartening. Chapeau to the Fine Cider Company and everyone else involved for really getting the punters out.

Of course, everyone wants to hear the highlights, so here are mine (with the caveat that, as is traditional, I didn’t make it to all the stands). I focused on things I hadn’t tasted before: I tried at least four makers for the first time, and some of the bottlings below are pre-release

Wilding, Pyrus 2yo

After greatly enjoying Wilding’s apple mistelle, Malus, I’ve been waiting for a chance to try the pear version—it did not disappoint. With an incredibly fruity nose, clearly influenced by the rye barrel but smelling to me more like rum, and an unctuous, nutty palate, this is one to get while the getting is good. It made me sad that it’s difficult to find Barland, the perry pear that forms the juice component here.

Stockley Cider, Dulcet 2022

Sharing a table with Wilding (Rob Stockley spent three seasons working with Sam & Beccy in the past) was one of the makers new to me at the Salon. Rob’s four-cider range are all blends of traditional cider apples with varying levels of sweetness—made with the rural method [multiple rackings, not Méthode Rurale, Ed.], bottled pet-nat, and then disgorged, no less. This one stood out for its wonderfully sweet and intense nutmeg note on the palate.

Oliver’s, [Pre-release bottle conditioned perry] 2024

It is a truth universally acknowledged that the ciders that look best at big tasting events are those with particularly bold, punchy, or unusual flavours. Admittedly, this perry, made from “all the usual favourites” (Blakeney Red, Winnals Longdon, Gin…) fits that bill. Incredibly zingy, with notes of feijoa, soursop and other lesser-known tropical fruits, it’s green as can be, felting your mouth like a bite into a super-tannic, just-ripe perry pear. Tom’s 2024 Kingston Black, bubble gum-sweet “as this variety should be presented”, and the 2022-23 Coppy, which smelled blossomy but coated the palate with a strange peppermint oil-like sensation, also deserve honourable mentions.

Naughton Cider Company, Brut Vintage 2020

I believe Peter Crawford’s first words of introduction to this masterclass, during which he described some of his production methods in detail and solicited feedback on a vertical tasting of his bottlings, were, “I really love Champagne” (it shows). Of the four traditional-method ciders we tasted, this one stood out for me for its richness and warmth (despite having no sugar added). Deeper and nuttier than the others, it had amaretto notes and a delicious saltiness while retaining lightness and zest. More please.

Mr Plūme, Pearadise

This Latvian cider is an inspired blend of red-fleshed crab apples, dessert pear and super-tannic wild pear, racked for natural sweetness. It hits all the notes—sour, sweet, bitter, pink!—and would be on regular summer rotation if I had easier access to it.

Artistraw, [Rondo/Foxwhelp co-ferment] 2022

The latest collaboration between Artistraw and one of their local vineyards (yes, even in the Welsh borders, they have several!) is just as fun as the previous iterations. The layering of lemony Foxwhelp and fruity Rondo (literally—the apple pomace and pressed skins were macerated in layers over night before pressing) gives a distinctly textured cider which oscillates delightfully between red sour gummy flavour and aronia-esque grip.

Eric Bordelet, Sydre Argelette 2008

Boy, do I wish I could go and buy a lot—or any—of this. As spicy and mineral as the iron-rich clay and shist soil it’s named for, this now well-aged and chewy cider was all industrial rubber on the nose (“Like a new sporting goods store,” I told Brett next to me, “but in a really good way!”). Then, the blissfully concentrated palate: almost-burnt sugar, dried fruits, truffle, and the grassy pepperiness of a good olive oil. Unsurprisingly, everything else Eric had brought was also excellent, but the not-for-sale old bottlings like this, showcased purely for the joy of sharing them, were a real treat.

–

In sum, a staggering range of excellent drinks were poured within that three-hour span—to say nothing of the rather Bacchic afterparty, during which Nordic cider advocate Thomas Digervold gave an impromptu tasting of at least a dozen delicious Norwegians ciders. Knowing full well that cider is far from just a summer drink, the London Cider Salon toasted the first evening of summer with gusto.

---

A Smörgåsbord of Fine Cider & Perry

Brett St Clair

Returning to the Tate Modern for the third London Cider Salon feels slightly surreal. While it feels like only yesterday I was attending the first one, at the same time non-salon visits in-between, as fun as they are and as inspiring as the art is, each time have me secretly hoping that if I head up to the sixth floor of the building then I might find the usual array of friends and producers there ready and waiting to kick off the party. In the three years since its inception, it’s become a date in the calendar that I look forward to coming round again. Not just because of the cider but because it’s a beautiful part of London that I always enjoy being in and the Tate Modern is a beautiful building to be able to spend time in, and always in good company.

That a cider tasting in an art gallery doesn’t come across as incongruous or a knowing juxtaposition, but a natural pairing, is a testament not only to Felix and the team at the Fine Cider Company’s hard work extolling cider’s many virtues, but also a rather hopeful indication that attitudes towards the drink in general are slowly changing for the better. With the Salon finding its home here along with last year’s Find & Foster Pét Nat, and this year’s Tom Oliver’s Modern Cider collabs, there’s every chance cider might become as ubiquitous with the Tate as Louise Bourgeois’ Maman that looms large over the Turbine Hall.

Highlights were many this year, and whilst the professional documentation tends to take a back seat the more the day goes on, some things are clearly etched in my mind (which is lucky when your pen decides to run out halfway through the day). First off it was a joy to be in the company of fellow Cider Reviewers Bea & Jack this year, having not seen either since late last year.

New to proceedings were the two masterclasses which neatly split up the tasting. Normally it feels like a rush to try and make it round to all the tables you want to sample, which can make it hard to properly take everything on board and spend enough time engaging with the producers. But the masterclasses provided a lovely reprieve from the fast pace and allowed a calmer, slower approach to tasting. I was especially grateful for the first class with Peter Crawford of Naughton. I love his Champagne method ciders, and a more passionate knowledgeable person you will not find on the subject, so it’s always a pleasure to be able to listen to him. But all too often I’ve found when tasting Champagne method ciders, if you’ve had anything beforehand with remotely any tannins, it can really leave the ciders feeling thin and lead to difficulties being able to properly perceive all the nuances which characterise the style (thankfully both Naughton & Two Orchards were the first table). In isolation though the vertical tasting of the ’19, ’20 & ’21, along with a yet to be released Grand Cuvée, let everything sing. The crisp, clean texture of each perfectly intact. The salinity of the ’21 a particular highlight.

Sadly, Andreas Sundgren of Brännland was unable to make it over at the last minute, so Felix stood in to lead the second masterclass. I have to admit I’m rather biased, as there’s never been a Brännland release that hasn’t completely floored me by how nuanced and complex they are, and I realise the Brännland are not the only purveyors of ice cider, in fact I’ll get on to a Norwegian one later that had a similarly flooring effect. But they are simply put: world class. If they did happen to be the only maker of ice cider in the world you’d probably still be spoilt for choice. My overriding feeling during the whole tasting is why, why, why isn’t this on more menus?! Each one is such an easy gateway into the possibilities of cider. Yes, I realise the cost, importing etc, but for sheer joyful luxury it’s up there with truffles and caviar for bang for your buck.

Highlights of the actual tasting in no particular order. With fellow Cider Review alumni Ian Stott pouring for Little Pomona, it was great to continue to try the further steps James has been taking into let’s say non dry ciders. A New Leaf is a first for Little Pomona, being a keeved cider that has a great balance and some welcome acid to it that takes it beyond the usual keeved notes of brown sugar/cooked fruit that can end up making them heavy going, and a little one dimensional on occasion. Whilst I’m Only Sleeping is signature LP Egremont Russet finesse, exactly the kind of bottle I crave when I think of them. Hidden away was also a traditional method 100% quince, which is the truest expression of quince I could imagine, the nose evoking for me boxes of quince arriving in the kitchen in wintertime for making membrillo.

An as yet unnamed bottle conditioned perry from Tom Oliver was the highlight of the many bottles he was presenting. Mouth drying tannins leading to lemon freshness and tart gooseberry. A single variety Kingston Black was also a favourite, all fresh dark & red fruits bringing some juiciness to what can sometimes be all tannin and leather. Sadly the first masterclass interrupted tasting through the whole offering, meaning by the time I circled back round I had missed a new Perry called Land of Hope & Dreams, that I wanted to try for no other reason than being a fellow Springsteen fan.

The Sobremesa Lower Porthamel Orchard Blend was introduced with the mention of umami as a tasting note which instantly intrigued me and instantly delivered exactly that. Whilst you may be unsure if you want a cider that evokes hints of miso, I’m here to tell you, you absolutely want it!

Both Ezera and Mr Plūme were my first introductions to the world Latvian cider, and both featured a strong character of wood to them, not barrel but freshly chopped wood which I found fascinating and wonder what it is about the terror that creates that character.

Just like last year, Eric Bordelet’s aged bottles, a 2008 Sydre Argelette and a 2015 Poiré Granit showcased exactly what long aging can do and providing a beautiful contrast to their newer vintages which were also being poured.

Skawen from Ripe provided a welcome still cider to the line-up. Saline, floral and something I can’t wait to try with food. Lastly an unnamed unlabelled bottle of SV Dabinett from Tinston aged in red wine barrel that was like getting smacked in the face with a whisky cask, and I do mean that in a good way.

The post salon party in the Corner Bar involved among other things an impromptu tasting through a number of Norwegian ciders (yes, I had forgotten to take note of exactly how many at this point) expertly led by Thomas Digervold. Standouts were the aforementioned ice cider, and cider from Alde sider, and a red fleshed apple cider from Harding sider that not only had retained the most vivid red colour but was straight up baked cherry pie on the nose while having one of the most unique tannin structures I’ve ever had. But the sheer consistency in quality across the range of ciders we tried was the real takeaway. Norwegian ciders seem to be operating on a whole other level.

In summary, this has definitely been the best Salon so far. And maybe most encouraging of all was seeing the amount of people new to cider in attendance and it be such a wide demographic of people, I think it’s safe to say that at the very least 50%-60% of people there were women, which fills me with hope that cider can be such an inclusive space as well as hope for what next year’s salon will bring.