Has the GBBF lost its G?

Right, that's another Great British Beer Festival over for another year.

And, to be honest, at the end of the week, I've come away feeling a tad, well, underwhelmed. Meh.

Normally, I'd put that down to mid-life-crisisism, post binge-drinking comedown and my generally bleak outlook on life. But a few conversations with other attendees seem to confirm a pretty widespread view that this really was the most lacklustre GBBF for some time.

I don't yet know how it worked out from CAMRA's perspective, but here are few collated thoughts - not just mine but those of my friends, drinking buddies, random strangers and - of course - teh interwebz: 



Pricing. There are always a few folks (I hesitate to generalise but very often older people from other parts of the country) who whinge about the GBBF pricing. This year they have a point.

The GBBF in better times

'Ordinary' strength beers (e.g. 3.8% to 4.5%) on the main bars were typically selling for £4.20-£4.60 a pint. This is noticably more expensive than in recent years and indeed more expensive than a lot of West London pubs which don't charge you £14 for the privilege of being there.

Yep, it's now £14 on the door for a non-CAMRA member, which is bordering on the ridiculous, though it makes the £24 Season Ticket for members seem like exceptional value.

What do you even get for your money? No beer is included, you have to pay the deposit for your glass, and they were even charging for the programme this time (£2 for non-CAMRA members and £1 for members) which really feels a bit grasping.

The decor and theming was 'minimalist at best'; truly a case of every expense spared, with very plain beer signage and a few 'join CAMRA here' type banners. And that was it. The only splashes of excitement and colour were those provided by the brewery bars.

Contrast this to previous years where the event has been heavily themed, oftentimes quite effectively  like the 'circus' theme of a few years ago (with spot prizes given to lucky winners who had a magic sticker on their glass). Sometimes it's been a bit naff but at least it felt like some effort has been made to make the GBBF more than just five days of sustained hard drinking!

Competition. And not taking it seriously.

As I've written previously, I don't really agree with the logic of holding London Beer City concurrently with the GBBF. But I'm baffled at CAMRA utterly failing to raise the GBBF game to try and compete effectively. They can't blithely assume that punters will come through the door and drink what they're given forever - especially now there are some very attractive alternative options on the table.

I took some time out this year to attend a Siren tap takeover at the Craft Beer Co. and don't regret doing so. Pints I drank there are pints I didn't drink at Olympia. And they were, for the most part, more interesting beers too. (If you're interested, Project Barista: Turkish and Primal Cut on cask for the first time, a stunning Gin-spiced Soundwave and an 11% Bourbon Biscuit Shake imperial stout. And about 25 more!)



The American Cask Bar running out. This situation had been improving. Over the last couple of years, they sorta rationed things a bit (while not admitting to actual rationing) and there was a reasonable selection available every day. This year saw a reversion to type, with almost everything gone by the end of the Thursday session.

It wouldn't be a problem if the USA bar was a little sideshow, but for many, many GBBF attendees, it's the main attraction. The range and quality of beers on this bar generally outshine their British counterparts, and for punters paying to get in and hoping for something a bit special, it's a slap in the face to greet them with an empty bar.

Indeed, my favourite beer of the festival this year was Aeronaut 'Passionfruit Sour Planet' a stunningly refreshing 3.2% Berlinnerweisse from Massachusetts, while the Brooklyn 'Destroy all monsters' at 9.9% was also a generously-hopped highlight.

Yes, there were good British beers, but the range is still hugely dominated by 4.2% golden ales and 3.7% milds that are all just a bit similar to one another.

Why not order more interesting UK-brewed beers for the main bars? It's really not that difficult.

The popularity of the American Cask bar tells you that there is a demand for complex, challenging, and indeed slightly insane beer - and that such beer can be real ale.

I know there are many who want CAMRA, and presumably by extension, the GBBF, to adapt and promote non-real beers, though I'm not sure how valid an argument that is in this context.

There was a very small quantity of British keg available for, presumably, the first time ever. The skies did not come crashing down upon us, and, in all honesty, you'd hardly notice its presence. (It was on the Harvey's and Tiny Rebel brewery bars, and possibly elsewhere.)

Obviously European keg has been a feature here for years though, interestingly, it never sells out as quickly as the American cask...



The venue. OK, Olympia has kinda become the default position for GBBF, and I doubt anyone has seriously put any thought into possible alternatives. It was first held there in the early-1990s, moved to Earl's Court in the mid-Naughties, having apparently 'outgrown' the venue, only to wander back almost as if admitting defeat once Earl's Court was closed.

I'm perfectly happy with Olympia because it's the venue I grew up with. I've been attending GBBF here for as long as I've been drinking beer, but, once again, has any real effort been made in this area? If they want to make GBBF bigger, I've always felt the Excel centre might be a decent fit, but perhaps something radically different is called for? Possibly even spread GBBF over multiple venues?

And how about extending the event by another day or so? Maybe start with a preview night on the Monday, and run a full Saturday session through to midnight, with the staff party an all dayer on the Sunday? They've stuck to a rigid opening pattern for years and years and years. Need it be thus?


The 'Entertainment'. Cost-cutting measures look to be very much in evidence with a bill utterly shorn of big name acts. Or indeed medium-sized name acts. The GBBF stage has played host to artists as varied as Chas'n'Dave, Steeleye Span, the Bad Shepherds, (the late) Alvin Stardust, John Otway and Kitten & The Hip. But it's as though they've given up now and settled for, basically, pub covers bands.

Almost certainly because they are a lot cheaper to book.

In the past fans of the acts would get through the doors to see, effectively, a relatively cheap gig and be given an introduction to good beer in the process. I really can't see anyone showing up mainly for the bands now. Probably not even the bandmembers own families...

Look, it's not all bad. The range of food vendors is more varied than it hass ever been. And I appreciated the quiet tranquility of the Member's Lounge - this time in a comfy, convenient location. It's not as though I had a terrible time.

But when I've given up pretty much a week of my year and a fair chunk of cash, that's not really enough to show for it, is it?

Adapt or die?

I don't have easy answers here. For all I know, the event might be considered a great success by CAMRA top brass. It might've been stupendous for their balance sheet. And maybe some liked the 'no frills' approach and didn't begrudge paying extra for it?

For me, it's one of the fixtures of the year, like those people who always go to Glastonbury, or Royal Ascot, or whatever. GBBF is my thing, even when it's a bit disappointing.

But I can easily see outsiders or first-timers coming along this year, feeling a bit ripped off and wondering what all the fuss is supposed to be about. And if that happens, the greatest event in the beer calendar will spiral inexorably into decline. 

The thing is, this was the 40th anniversary of the first GBBF. A great excuse to 'go large' and make a big splash if ever there were one, right? Instead we got what felt like an budget festival that was going the motions and trying to make as much money as possible, while simultaneously cutting as many corners as it could get away with; a super-thrifty festival of austerity - except, of course, that it wasn't actually cheap.

I say all this because I care. I want the GBBF to survive and thrive. I want it to have the 'Christmas in a Sweetshop' sense of excitement that it possessed when I was 17. But I want it to stay relevant.

I want it to be Great again.