The Third Edition Of The Monumental “World Atlas Of Whisky” Shows How Broadly The Industry Has Expanded Globally

It’s been ten years since the last edition of The World Atlas of Whisky by Dave Broom appeared, and the growth of the industry has radically changed the market, with 500 distilleries––the most in history–– profiled from Italy and Spain to Mexico and South America to Tasmania and India. I interviewed the author as to the changes, the newcomers and the future for whisky, or, if you prefer, whiskey.

Let’s get to some numbers: How many more distilleries are profiled in the 3^rd Edition?

There were 150 profiled in the first edition, 200 in the second. This has 500. More importantly, this is a complete rewrite of the book, not just an update. So much has happened in the world of whisky in the past decade that I had start again. More countries, more distilleries, more tasting notes. A new book. Hopefully everyone who bought the last edition (and thank you for doing so) will be excited to get this as well.

You say that “this is a complete re-write.” Yet the 2nd edition had 336 pages and you’ve added only 16 new ones. How was that accomplished?

Thanks to the wonderfully talented Juliet Norsworthy who redesigned the book. We created more space for entries by removing double page photography, and reworking the front and back sections. The number of images were reduced, tasting note formats condensed. The key was to allow more information without losing the visual integrity of the book. Nothing has been lost or compromised in terms of entries.

How many distilleries as opposed to producers who use others’ distilleries are there?

The book has always been an atlas of distilleries. There are distillers profiled who use sourced whiskies as part of their offering. The distilleries which specialise in producing that liquid are also profiled. I have no problem with distillers using sourced whisky as long as it is declared.

What has caused the soaring increase?

A number of factors which differ depending on each country. In general it has been driven by a growing consumer interest in and demand for whisky driven initially by a global love for single malt Scotch.

In some cases (Japan, China, France, central Europe) whisky has been seen as a surer bet by distillers of that country’s traditional spirit (shochu, baijiu, brandies).

Other countries have liberalised their licensing laws (the Nordics for example) allowing independent distilling to take place; in others, it has been a natural evolution of the craft brewing scene (US, Canada).

Behind it all, I believe, is a desire on the part of distillers to make a spirit which speaks of their place, their conditions. That is what made the book such an exciting one to write – how do distillers around the world engage with the question ‘what is whisky?’ and then ‘what can my whisky be?’ The answers are many … and fascinating.

So many countries have gotten into the global spirit markets that had little visibility before, e.g., Australia, India and South America. Is there really a market for these new spirits?

Let’s take India as an example. Last year, in India, locally produced single malt outsold Scotch single malt for the first time. That is a remarkable turnaround in image, given that the major producers: Amrut, Paul John, Rampur, Picadilly all launched initially in export because of the negative image local whisky had.

There is less prejudice around the world for ‘non-classic’ whisky, a willingness to accept that it can be made anywhere and will be made in new and exciting ways, that the diversity of flavours is ever widening.

Just look at the rise of American single malt – almost unknown a decade ago and now (rightly in my view) tipped as the next major forced within the US whiskey scene.

Is there space for every new distillery? Probably not. Will some fail? Probably. Will the ones who look at quality, a clear point of difference, truth in their story, a long-term plan and with good distribution survive and prosper? Yes.

How long did this new edition take to write? Did you visit many of the countries you write about?

Ten years of continuing research and nine months solid of writing and tasting. I’d visited the majority of the countries in the intervening years, or met distillers at shows around the world. I also relied on friends on the ground with a greater knowledge of their local markets than me. No one person knows everything!

You write in your intro, “This book reflects the growth globally in the past decade but more importantly it’s about why this has happened and what 21^st century whisky looks like. It’s not about numbers. This is an atlas of minds.” What do you mean by that?

It is relatively easy to write about what each distillery does – the equipment, the facts and the figures, the volumes and strengths. It’s interesting but that only gives you a small part of the story.

The real story is around the flavour and the thinking behind the creation of that flavour – what made the distiller take those decisions? That’s what I wanted to discover.

It was fascinating to see how many themes/approaches were shared between distillers around the world who had never met or even heard of each other: the use of heirloom/heritage varieties, working closer with farmers, going back to older ways of making whisky and adapting it for today, approaches to sustainability, links with food culture as key to, say smoking technique … and this deep desire to express their place in their whisky.

So the book is a geographical map – plotting distilleries. It is a map of flavours with each whisky placed within a flavour camp (and there are more camps in this edition than the previous), but also it is this map of mindsets.

How has Japan established itself among the top ranks of whisky making in such a short time?

Given that Japan’s been making whisky for over 100 years it should be in the top rank! The reality was that it was mostly consumed at home until the start of this century when export began.

Why has it be such a success? One word. Quality. Whiskies which are pure, intense and complex yet with clarity. There are now over 100 distilleries in Japan. Seven years ago there were around 15.

What is needed now however is a legislative framework clearly defining what Japanese whisky is (made and aged entirely in Japan). There is a set of guidelines which the members of the trade association must comply with, but this now needs to be on the statute book to stop fraudulent ‘Japanese’ whiskies appearing on export markets.

So many producers use label terms that often seem ingenuous, like “small batch,” “Private reserve” and a wide range of casks, which all seem to very high priced. Yet even a modest liquor store or big box warehouse-style store stocks an abundance of these spirits. How is that possible?

None of the term are defined in law. Who is to say how small a small batch is?

Years ago in Scotland I asked about “vintage dated” Scotches (not “12-Year-Old”) and the master distillers I spoke with said, with some disdain, that Scotch is always a blend by a master like themselves and that a single vintage would have no complexity. Yet vintage-dated Scotch (as well as Cognac) can be found, especially as exports. Is this possible under the laws or just a marketing gimmick?

It’s perfectly legal. The age statement on a Scotch refers to the youngest whisky used. It means the whisky-maker can also include older whiskies which will be at a different point on their arc of maturation – i.e. with a different flavour.

A ‘vintage’ whisky, will be snapshot of a specific point on that arc – the year it was made. A single cask will be an even tighter moment in time. All are valid.

Is it true that much of the rye whisky now being bottled in the U.S. comes from vast stores that Seagram and others had when “brown goods” lost market share?

I wouldn’t know, and if it does and if it is declared as sourced whiskey I have no problem. What else are you going to do with it?

Have you already begun your research on the next edition?

Allow me a moment to recover!