Hibiscus

Claude Bosi, the ambitious and exuberant chef-patron of two Michelin-starred restaurant Hibiscus in Mayfair, has a soft spot for ornamental chickens. So much so, he has a collection of the creatures lining the staircase at the restaurant, whose beady eyes watch you as you venture down to the loo.

Having upped sticks from its original home in Ludlow in 2007, husband and now ex-wife team Claude and Claire run a slick ship at Hibiscus. The restaurant is so understated, I walked straight past it. A polished desk on entry coupled with a partition screen give the impression you’re about to check in to a BA Club lounge. Inside, the interiors have been over-generously garnished with wood. Tones are hushed, lighting bright and flowers orange. On arrival, the restaurant is empty save for one or two tables, to give head chef Marcus McGuinness time to execute Bosi’s intricate dishes while he works his magic at new London pop-up The Cube atop the Royal Festival Hall.

Proceedings are kicked off in style when a pair of goody bowls arrive, one containing pudgy cheese gougères and the other ping pong ball-shaped yuzu and miso croquettes, both of which prove so addictive I’m suspicious they might contain crack cocaine. The croquettes explode with aromatic citrus liquid on biting, while the gougères ooze warm, creamy cheddar down my thankful throat. Chomping enthusiastically into a second, my skirt is christened with liquid cheese. Moments later, a concerned waiter arrives and silently offers me a starched white napkin from between two forks before swiftly departing so as not to draw attention to the incident.

Mackerel tartare with button mushroom cream

Obsessed with seasonality, Hibiscus doesn’t limit itself to the confines of a menu, but rather offers a page of seasonal ingredients, asking diners to choose the number of dishes they’d like (three, six or eight), and which ingredients they would like to see featured. I opt for eight courses and ask to be surprised. In a sweet and fitting tribute to the restaurant’s namesake, the feast begins with a vivifying hibiscus flower and pineapple soda amuse bouche, which I’m told to down like a shot.

Perhaps peaking prematurely, the first course is the apogee of the meal. Served in a small black bowl, a layer of foie gras-coloured button mushroom cream is prettified with edible flowers amid shards of shaved almond sticking out of the top like shark teeth. Beneath the teeth lies a smoky, meaty, mackerel tartare. When eaten together, the result is a rich, creamy and perfumed mouthful given texture by the almond shards in an exquisite example of the culinary pyrotechnics Bosi prides himself on.

Kaffir lime and spring onion ravioli

The next course is equally intriguing: a single, pleated ravioli stuffed with spring onion and Kaffir lime served with a buttery, broad bean and mint purée. The audacious use of lime highlights Bosi’s fearless approach. Out to surprise and delight, he takes flavour pairings to the edge of what is acceptable, assaulting and seducing the palate in one bite. Diners of a meek disposition may not warm to his gung-ho style, but, as each course reveals itself, I revel in the life-affirming flavour skirmish.

A pearl white hunk of roast Cornish John Dory was disappointingly mild on its own, but came to life when paired with the accompanying girolles drizzled in Lancashire mead and a salty sliver of Morteau sausage, the mead adding unctuous sweetness, the girolles earthiness and the sausage a savoury, meaty kick. Next up is a solitary, oak-smoked lamb sweetbread served with fresh goat’s cheese masquerading as a boiled egg, the yolk a pool of grass-green sorrel oil. Rich, juicy and oily, it tasted like a gourmet chicken nugget.

Roast squab pigeon with pistachios and cherries

Mention must be made of the wines. Chosen by natural wine pioneer Isabelle Legeron MW and enthusiastically poured by 22-year-old head sommelier Bastien Ferreri, the majority of the bins on the weighty list are organic and biodynamic, so what ends up in the glass is a bit of a lottery. While the opening wine, a 2009 Marsanne/Rousanne/Chardonnay/Viognier mash up from the Languedoc is cloudy in colour and spiteful in character, a 2007 Vermentino/Chenin Blanc blend from the Languedoc chosen to pair with the ravioli is bright, aromatic and elegantly spiced.

The only wine list in London to carry a page dedicated to orange wines, my wine find of the night was the curious and delicious Savasol 2007 from Loire renegade Julien Courtois. Made from the little-known Menu Pineau grape, Courtois deliberately oxidizes the wine to imbue it with wonderful, Sherry-like aromas of hazelnuts, toffee and sea air. Excited to be presented with a gleaming chunk of lobster, it turns out to be the least remarkable dish of the night. Much more impressive is an almost indecently pink slice of roast squab pigeon served with pistachio gravel. Sweetened by the accompanying cherries, the meat is achingly tender and exoticised by hints of spice. Finishing the dish, a crispy samosa contains creamy foie gras and an array of the bird’s innards.

White asparagus and white chocolate cream

The exhilarating flavour journey ends on a high note with a mystery dessert, the ingredients of which I’m asked to identify. Fashioned into a squidgy macaroon, I correctly guess the key components: white asparagus and white chocolate cream, and also manage to pinpoint the black olive splodges and coconut sorbet, but fail to decipher the elusive whey gel. The rich, savoury concoction seems straight out of the Great British Menu – a dish Matthew Fort would rave about and Oliver Peyton would peer down his glasses disapprovingly at. It was weird, but it worked. That’s the beauty of Bosi – he sends you on a crazy culinary adventure with no seatbelt or indication of the final destination, and the ride is all the better for it.

Hibiscus, 29 Maddox Street, London, W1S 2PA; Tel: +44 (0)20 7629 2999.

Pingus trialing natural wine

Peter Sisseck, founder of one of Spain’s most sought after wines, is trialing a natural wine project at Dominio de Pingus in Ribera del Duero. “I want to get my head around the natural wine thing. I’ve been in talks with Marcel Lapierre in Beaujolais and some of the good natural wines guys – it’s not all bullshit,” he told the drinks business. Sisseck is experimenting with making a version of Pingus with no sulphur, but is concerned that this will hamper the wine’s ability to age.

“I want to make wines that can age and it’s very hard to do so with no sulphur. Despite never using much in Pingus, a little sulphur is essential,” he said. Having studied biodynamics at the Rudolf Steiner School in Basel, Sisseck is keen to take things a step further. “The idea of natural wine is interesting. The best ones have lovely purity when they’re young, but they are extremely fragile. Any terroir expression the wines may have can be erased by bret and oxidation,” he said.

The Dane is keen to stress that his natural wine will be treated as a standalone project: “Pingus isn’t about to go natural. I want to see what I can learn,” he said. Pingus has been biodynamic since 2000 and second wine Flor de Pingus since 2005. Sisseck admits that in his single-minded approach in only working with Tinto Fino (the Ribera del Duero equivalent of Tempranillo), he “may have gone too far.”

To redress the balance, he’s started working with small parcels of native white varieties planted in the two Pingus vineyards, and is experimenting with adding small amounts of white into the Pingus blend. Having been “very spoilt” with Parker points in the past, Sisseck believes the appointment of Neal Martin as The Wine Advocate’s new Spain critic after Jay Miller’s departure post “Jumilla-gate” will be a “tremendous help” for Spain.

“Jay favoured things in Spanish wine I’m trying to avoid. He liked very big, inky, in your face, ‘show me the money’ wines. Neal is more into the historical background of the vineyards and will hopefully give more focus to Spain’s terroir message, which has got lost,” he said. 

Joly: Natural wine is "meaningless"

Biodynamic pioneer Nicolas Joly has blasted natural wines as “meaningless”. Speaking at the RAW wine fair in London last month organised by Isabelle Legeron MW, Joly told the drinks business: “The term natural wine is nothing more than a drawer in which to put all the winemakers who didn’t make enough effort to convert to organics and biodynamics. Those naming themselves as ‘natural’ wines are going to have a huge problem in five years and are going to find it extremely difficult to sell their wines.” 

Joly feels that now organic and biodynamic wines have become trendy, everyone istrying to jump on the band wagon. “Natural wine is an empty concept devised for capturing a market. What is ‘natural’? All wines are natural. If you do nothing in the cellar you will have a natural wine but it won’t necessarily be a good wine to drink.”

Joly believes the subject of sulphur use – crucial to the natural wine movement – has been over discussed and incorrectly communicated. “It all depends which sulphur you use. A small amount of volcanic sulphur is actually a good thing for a wine. Wines destined to be shipped abroad that want any kind of life span need sulphur to protect against oxidation – they can’t survive without it. It’s pointless trying to fight the sulphur issue,” he said.

Explaining how biodynamics works, Joly, who runs biodynamic property La Coulee de Serrant in the Loire where he makes three wines from 100% Chenin Blanc, said: “At a physical level, biodynamics can’t work. It works in tiny quantities as a receiver on an energetic level like using a phone to connect to a friend. Being biodynamic connects a vine to that which it needs to express its full potential."

Joly revealed that he believes sound frequencies have a positive effect on stimulating yeast during fermentation. “I play a specific note to my wines in a specific spot of the cellar during fermentation. Sounds dominate matter and stimulate life but very little is understood about it,” he explained. He also believes shape is more important than material when it comes to fermenting and ageing wines, citing amphorae, which are still used in Georgia, as the best shape for maturing wine.

Wregg: The majority of natural wines can’t age

Flag bearer for the natural wine movement Doug Wregg has admitted he doesn’t think the majority of natural wines can age. “60-80% of natural wine should be drunk within the first year, after that they fall apart,” the director of sales and marketing for Les Caves de Pyrène told the drinks business. “Most of the wines are light, pale, fizzy and fun. They’re meant for wine bars rather than cellars. It’s a miracle when something lovely happens in the bottle a few years down the line, but I wouldn’t bet my house on it,” he added.

Wregg disagrees with French and Italian natural wine importer Giuseppe Mascoli’s opinion that natural wine is “not for the masses,” as reported on Wine and the City. “Natural wine is for the masses. It’s not in any way intellectual or hard to understand – the wines are incredibly simple and easy to understand,” he said. He also revealed that he’s in no hurry for natural wine to get an official definition.

“I’m really against the idea of an official definition – I don’t think it would have any traction, so I can’t see the point of it. Having to adhere to a certain set of criteria would suffocate the freedom of the winemakers. I wouldn’t like the whole movement to be codified. Plus, the debate surrounding the natural wine movement has generated a lot of interest because of this lack of an official definition,” he admitted.

With regards to organic and biodynamic wine, he blasted the term organic as “meaningless,” due to the multitude of different definitions around the world. “I’m relaxed about the language surrounding natural wine – I use the terms organic and biodynamic interchangeably,” he quipped. He also spoke of his constant need to defend criticism of natural wine from the trade: “It’s turned into a playground fight – the wine bloggers are ripping their hair out."

Wregg is to host a natural, organic and biodynamic fair – The Real Wine Fair – at Victoria House in Holborn on 20-22 May, which will go head-to-head with Isabelle Legeron’s RAW wine fair on 20-21 May at the Old Truman Brewery in Brick Lane.

Legeron: RAW vs Real wine fair rivalry blown out of proportion

Isabelle Legeron MW, organiser of London’s forthcoming RAW wine fair, has spoken out about rumours of rivalry between her and Real Wine Fair organiser Doug Wregg of Les Caves de Pyrène, saying: “Our split wasn’t acrimonious – everything has been blown out of proportion.” As reported on the drinks business, having both helped start up The Natural Wine Fair in London Bridge last year, both Legeron and Wregg are hosting their own natural wine fairs this year, at the same time.

Legeron’s RAW is being held at the Old Truman Brewery in Brick Lane on May 20-21, while Wregg’s Real Wine Fair takes place at Victoria House in Holborn on May 20-22. “We decided the best way to move forward was to call it quits and organise two separate events. It’s a shame they’re both at the same time, hopefully that won’t happen next year,” Legeron said.

“It’s not an ideal situation, it would have been great to do a second Natural Wine Fair like last year. The fact that there are two fairs has got people talking and generated a lot of interest in both, but the rivalry has been exaggerated. I’m looking forward to the speculation on blogs and Twitter calming down so we can both get on with our jobs of organising our respective fairs,” she added.

Wregg agrees that the reaction to the news on blogs and Twitter has been counterproductive: “There has been some nasty blogging going on, trying to drive a wedge into something that should be really positive. Growers are confused by who is issuing the propaganda,” he said, adding, “I’m desperate that both events are successful because it will show there’s great traction with natural wines.”

Both agree that there is space for two natural wine fairs in London: “A natural split has occurred, with Les Caves de Pyrène growers going with the Real Wine Fair. A few producers want to be at both, but it has mainly been an easy decision where to go.

“300 producers would have been too many for one show anyway,” said Legeron, who admitted that she doesn’t know when an official definition for natural wine will be decided, despite it being desperately needed. Progress will be made this year but there won’t be a concrete definition for a while, if ever,” she said.

As to whether she and Wregg will ever join forces again, Legeron is unsure: “Let’s get this first fair out of the way and then we’ll have to see. There will probably be two fairs again next year, just hopefully not at the same time.” Both events, planned to coincide with the London Interntional Wine Fair on 22-24 May, will feature around 150 growers, with each devoting a day to consumers.

Aubert & Mascoli

Aubert & Mascoli are the Gilbert & George of the wine world. Parisian Guillaume Aubert (left) sports large black framed glasses and a neatly coiffed beard, while Naples-born Giuseppe Mascoli (right), a philosophy graduate, part-time artist and self-confessed playboy, has short silver curls, a Mediterranean tan and is dressed head to toe in green on our meeting. They make unlikely business partners, but the ebullient Mascoli is the yin to soft-spoken Aubert’s yang. Having built up a successful restaurant business, with a portfolio including Blacks in Soho, pizza institution Franco Manca and neighbourhood Italian Rocca in Dulwich, while working as a sole trader bringing wine into the UK, in 2009 Mascoli joined forces with independent importer Aubert after a tip off by Anita le Roy, owner of Monmouth Coffee Company. “We were doing very similar things and had the same small grower philosophy, so it made sense to work together,” Mascoli tells me over a triple espresso in one of Blacks’ powder blue rooms.

In less than three years the pair have grown the company considerably, and now represent over 35 small growers from Italy and France. Despite their success, they are keen to remain niche. “We need to stand out by bringing in wines not available anywhere else in the UK,” Aubert explains. But with both Germany and Austria boasting impressive natural wine credentials, why do they limit themselves to Italy and France? “It’s what we know,” says Mascoli. “I’m toying with the idea of bringing in Austrian wine, but my knowledge isn’t up to scratch yet.” Aubert admits that they buy with their heart and not their head. “It might not be best for business, but it’s best for us,” he says. Piedmont, Friuli and Tuscany are well represented from Italy, while the Loire, Languedoc and Roussillon make up the majority of the French offering, with cameos from Burgundy, Provence, the Rhône and Champagne. Their best seller is Piedmont-based Valle Unite, Franco Manca’s house wine, which can’t produce enough wine to supply demand.

The pair are pious in their devotion to natural wine, refusing to work with any producers that use sulphites or other additives. “People are trying to shortcut millions of years of history by manipulating wines with selected yeasts. I’d rather a wine have oddities than be tailor-made,” says Mascoli, who compares industrial wines to “cartoon characters” made to please children. “Natural wine is like a silent assassin,” Aubert interjects. “The more you drink, the less you can drink other wines. You start reacting badly to them, coming out in rashes and swelling up from all the sulphites,” he explains animatedly. Though passionate trumpet blowers for the natural wine movement, the duo didn’t set out to create a natural wine company – the focus was always on small growers – but, fittingly, it came about naturally. “The producers we started working with all happened to be natural, organic or biodynamic. It wasn’t by design,” says Aubert, adding: “There’s a libertarian element to the natural wine movement that appeals to me. I like the idea of questioning the status quo. It’s very left wing.”

The duo go on six buying trips a year, visiting restaurants and bars to sniff out the local winemaking talent. They mainly work in the on-trade, supplying top London restaurants and wine bars, including the newly opened Duck Soup in Soho, Terroirs, Hibiscus, Pied à Terre, Galvin La Chapelle and Tom’s Kitchen. “We sell in places where the sommelier is able to explain what natural wine is, as most people don’t know what it means. The definition is a bit blurred at the moment, which is a problem,” Aubert laments. To generate awareness of the brand, the pair took part in the Natural Wine Fair in London Bridge last autumn, and were surprised by the popularity of the event. Aubert believes the natural wine movement has gathered momentum so quickly in London because the city is more prone to the effects of trends than the rest of Europe. While he admits the hype will level out this year, he is adamant that natural wines are here to stay. “They’ve come into fashion due to the rise of the critical drinker. Consumers want to know the origin of everything. There’s more awareness now,” he says.

Mascoli concedes that natural doesn’t necessarily mean good. “There are a lot of really bad natural wines out there. The wines are so delicate, it’s easy to screw them up,” he says. Being a natural winemaker isn’t enough to earn an Aubert & Mascoli listing. “We import wines that are good before they’re anything else. If you have to excuse the wines by saying they’re natural that’s missing the point,” asserts Aubert, who says that to make good natural wine you need to “work like a bastard in the vineyard” and keep your winery “as clean as a hospital”.

Mascoli, meanwhile, believes natural wines require a critical approach. “They’re a bit like the works of Karl Marx: not intended for the masses. Marx was writing for a specific audience with a sufficient level of knowledge to understand and appreciate his work. The same can be said for natural wines,” he suggests. Having submitted work to last year’s Venice Biennale, does Mascoli see parallels with wine and art? “I see wine as the opposite of art,” he says. “God, the artist and the poet create out of nothing. The winemaker works with what is already in existence, acting as a pimp for nature, from the fruit he picks to the soil he respects. The winemaker is a shaman. He doesn’t create, he cures.”

RAW artisan wine fair comes to London

An artisan wine fair for fine, organic and biodynamic wines dubbed “RAW”, will launch in London this May. As reported on thedrinksbusiness.com, the event will take place at the Old Truman Brewery in East London on 20-21 May, and will feature over 150 growers. Classic regions such as Burgundy, Bordeaux and Piedmont will be represented, as well as newcomers like Georgia and Serbia.

Organised by Isabelle Legeron MW (above), co-founder of last year’s Natural Wine Fair at Borough Market in London Bridge, RAW aims to build on the success of the Natural Wine Fair by acting as an independent event open to all producers, importers and official bodies. International grower associations La Renaissance des Appellations and VinNatur will be taking part, bringing with them growers from across the globe.

“My aim is to promote transparency in the wine world in order to support the art of authentic wine production. I want to help people think about what they drink’,” said Legeron. RAW is enforcing a charter of quality that all exhibitors must adhere to – in order for a wine to be on show at the fair, all grapes must have been farmed organically or biodynamically, only indigenous yeasts used and the sulphur levels must be clearly labelled on the bottle.

The fair will include talks from a number of wine expects, including biodynamic ambassador Nicolas Joly of La Coulée de Serrant in Savennières, and José Vouillamoz, co-author of Jancis Robinson MW's forthcoming book The Grape. There will also be a pop-up wine shop.

Garage Wine Company

Wine and the City talks to Quentin Tarantino look-alike Derek Mossman Knapp of the Garage Wine Company at Quo Vadis in Soho, about his old vine Carignan project, the potential for sparkling wine in Chile, and why the future of Chilean wine lies in the mountain regions.

Artisan & Vine closes

Battersea wine bar and shop Artisan & Vine has been forced to close due to a lack of demand for local and natural wines. As reported on thedrinksbusiness.com, founder of the southwest London venture Kathryn O’Mara said that sticking to her principles on natural and local wines and food cost her the business. “But changing to a more generic option would have cost us Artisan & Vine," she said.

O’Mara also cited reduced consumer spend combined with a neighbourhood location as having contributed to the closure. “As the prospect of recession came closer, it became clear that success on our neighbourhood street would require moving away from my vision of local and natural wines and food. Artisan wines and food simply couldn't compete on cost with their mass produced and chemically manipulated counterparts,” O’Mara said.

"It became evident that a suburban location in this economic climate was not right for our concept,” she added. Trends towards drinking at home helped increase off-licence sales for the business, but the wine bar rent and overheads demanded a higher ratio of on-premise sales. Artisan & Vine has won numerous awards at international wine competitions for its championing of home grown English wines.

"We leave proud in the knowledge that so many people enjoyed so many occasions – special and every day – within our humble walls. We are eternally grateful for the amazing support we've received from the wine industry, awarding bodies, neighbourhood traders and the most adventurous and enthusiastic customers and staff a wine bar could ever hope for," O'Mara said. A note from O’Mara on the website’s homepage reads: “Unfortunately Artisan & Vine has ceased trading. We’d love to thank you all for a wonderful three and a half years on St John’s Hill.”

Battle of Bosworth

Wine and the City talks to Louise Hemsley-Smith, co-owner of Battle of Bosworth winery in the McLaren Vale, Australia, at Quo Vadis in Soho, about the reasoning behind the historic name, the benefits of single site wine, sulphur-free Shiraz, and natural wine bohemians.

Natural wines are "not for the masses"

One of the UK’s top natural wine importers has spoken out about the natural wine movement, comparing it to the works of Karl Marx. “Natural wines require a critical approach. They’re a bit like the works of Karl Marx; not intended for the masses,” Giuseppe Mascoli (pictured) of Aubert & Mascoli told the drinks business. “Marx was writing for a specific audience with a sufficient level of knowledge to understand and appreciate his work. The same can be said for natural wines,” he added.

Mascoli, who represents over 35 Italian and French natural winemakers in the UK, said industrial wines are like “cartoon characters” made to please children. “People are trying to shortcut millions of years of history by manipulating wines with selected yeasts. I’d rather a wine have oddities than be tailor-made,” he said.

Meanwhile, Mascoli’s business partner, Guillaume Aubert, called natural wine “a silent assassin.” “The more you drink, the less you can drink other wines. You start reacting badly to them, coming out in rashes and swelling up from all the sulphites,” he said. Aubert admits he is attracted to the libertarian element of the natural wine movement. “I like the idea of questioning the status quo. It’s very left wing,” he said.

He believes it has gathered momentum so quickly in London because the city is more prone to the effects of trends than the rest of Europe. “Natural wines have come into fashion due to the rise of the critical drinker. Consumers want to know the origin of everything they eat and drink. There’s more awareness now,” he said.

Mascoli concedes that natural doesn’t necessarily mean good. “There are a lot of really bad natural wines out there. The wines are so delicate, it’s easy to screw them up. That’s the big irony with natural wine. It’s supposed to be all about letting the terroir talk, but make a mistake and it could taste like it was made anywhere in the world.”

Having submitted a work to last year’s Venice Biennale, does Mascoli see parallels with wine and art? “On the contrary. I see wine as the opposite of art. God, the artist and the poet create out of nothing. The winemaker works with what is already in existence, acting as a pimp for nature, from the fruit he picks to the soil he respects,” he said, adding, “The winemaker is a shaman. He doesn’t create, he cures.”

Monty Waldin and Dr Richard Smart

Biodynamic winemaker and writer Monty Waldin and global consultant on viticultural methods Dr Richard Smart talk to Wine and the City about the pros and cons of organics and biodynamics before a debate on the subject at the WSET headquarters in London. Waldin argues for the motion, with Smart speaking against the promotion of organics and biodynamics in the UK wine trade.

Melanie Tesseron, Château Pontet-Canet

Wine and the City chats to Melanie Tesseron of Bordeaux fifth growth Château Pontet-Canet and Tesseron Cognac at Sketch in Mayfair about the UK release of the super premium Tesseron Extreme Cognac, bonkers Bordeaux 2010 pricing, and the surge in popularity of natural wines.

Brawn

On a recent rainy Wednesday evening, I made the pilgrimage across town on the smooth moving East London line in search of Brawn. The arrival of this Columbia Road newcomer last November – sibling to small plates pioneer Terroirs in Charing Cross, was awaited with much anticipation by foodies and wine nuts alike.

Brawn is the English word used to describe the unloved (and largely uneaten) bits of a pig's head – tongue, cheeks, nose, which are boiled and pressed and wind up sharing terrine space with other piggy parts – trotters, offal. The American term for brawn is the euphemistic sounding 'head cheese'; words that don't move one to hunger. Brawn's brawn is Italian, served in a ravigote sauce. Usually an intrepid eater, I decided to steer clear.

Previous reviews have yet to touch on what a blink and you'll miss it venue Brawn is. Perched on an unassuming corner of Columbia Road, without even a sign to announce its presence, I marched straight past its St John inspired white walls, until, upon second inspection, I spotted my dining companion through the rain spattered window.

The aforementioned dining partner was Stuart Peskett of Square Meal fame: cue red carpet treatment from bread to bed. Hanging my sodden coat on a fire engine red stand, I surveyed my surroundings to a soundtrack of frantic jazz - pared down, industrial, canteen chic, with wooden red-topped tables and chairs that wouldn't look out of place in a primary school. Behind the sunflower filled bar are books dedicated to such culinary luminaries as Daniel Boulud. Speaking of culinary luminaries, shortly after my arrival, Charles Campion bounded through the door in all his Rubenesque glory. It seemed sweet and fitting, such a meaty man dining at, and presumably on brawn.

After Basque saucisse seche and parmesan chunks from the Taste Tickler section of the menu, our carnivorous feast began in earnest with ice cream scoop shaped pork rillettes sprinkled with paprika, served with gherkins on a wooden chopping board, which were rich, creamy and pleasingly porcine. While the chanterelles and warm duck egg yolk on toast and the chili prawns with gremolata both delighted, the hand chopped Tuscan beef disappointed. Served round and red with hunks of bread, it resembled a naked steak tartar, dressed only with a sprinkling of salt. I'm all for raw, but it was crying out for flavours outside of the meat sphere to break up the beefy monotony.

The main event however, didn't disappointed. While Mr Square Meal went for the popular duck confit with puy lentils, which was declared a success, I opted for the slightly more adventurous sounding Mongetes – a Catalan cassoulet containing pork belly, sausage and the large white beans after which the dish is named. Served in a rustic, round, brown dish, the ingredients were hidden under a film of crispy pork skin. Rich, wintry and warming, it doubled as central heating on this unapologetically cold January night.

The menu is playfully put together and changes daily. Some of the dishes require a French dictionary, others shout loudly of their provenance, from Dorset crab to Icelandic line caught cod. Pudding was an exciting affair. After Marina O'Loughlin described them as 'heaven', I had to experience the salted butter caramel crêpes. Heaven is an understatement. Slathered in gooey caramel with a heavy handed sprinkling of salt, the juxtaposition of sweet and savoury was exquisite.

You can't talk about Brawn without mentioning the wine. Backed by the team behind quirky French wine importers Les Caves de Pyrène, Brawn's evolving wine list is deliberately left field, made up of 150 natural and biodynamic bins from a range of regions. Sections are poetically named, allowing you to choose from ‘Stones, Shells & Sea’, or ‘Sunbaked, cicada-loud, ageless country of scrub and terraced hills'.

I tried a plethora of wines on my visit, highlights of which included a Sherry-like 2009 Anjou Chenin Blanc, a clean, precise Jura Chardonnay, and a fresh, minerally Syrah/Carignan blend from Pic Saint Loup in the Languedoc. Opening a bottle of natural wine is like playing Russian roulette, so high is the risk that it will be funky to the point of undrinkable. Co-owner Oli Barker told me the same wines change from day to day, depending on when they are opened, so seek out a biodynamic calendar, and save the detour to Brawn for a fruit day.

Brawn, 9 Columbia Road, London, E2 7RG , Tel: +44(0)20 7729 5692. A meal for two with wine, water and service costs about £80.

Bar Battu, Brawn, Fulham Wine Rooms, Vinoteca Marylebone: London's wine awakening

Once could be called a fluke, twice a coincidence, but now with half a dozen respectable natural wine bars in operation around London town, it's safe to call it a movement. It all started two years ago with Terroirs - the Charing Cross-based brainchild of Les Cave de Pyrene's managing director Eric Narioo, who this week opened his second natural wine bar – Brawn, in Columbia Road, E2.

I remember being impressed with Terroirs when I visited shortly after it opened. There was something different about it, from the pared down interiors and laid back bistro food, to the exciting and varied wine list offering everything from the funky to the downright strange, it was clear Terroirs was onto something. It successfully tapped into a previously unexploited niche and quickly had Londoners lapping up its unadulterated wines.

Two years on, and I've heard talk of a serious dip in the quality of service. Complacency seems to have set in, and with its reputation secured, the bar doesn't feel it needs to try anymore. Wine folk are fickle, and we're quick to switch allegiance if standards drop, so the savvy Terroirs crowd of yore has migrated to Xavier Rousset's hugely successful 28-50 Wine Workshop and Kitchen in Fetter Lane, and more recently the newly-opened Bar Battu in the City.

28-50 isn't a natural wine bar per se, but does offer an extensive number of wines by the glass, along with an impressive collectors' list, which Xavier personally sources from private cellars. After much hype from the wine trade, I made the pilgrimage to Bar Battu last week, and was pleasantly surprised. I'm slightly distrusting of natural wines. I don't really understand them (there's no official definition of what constitutes a natural wine), and I'm often thrown by their unpredictability, cloudy appearance and savage aromas.

Despite my reservations, I think it's a fantastically brave move to open a natural wine bar in the City. If the wine trade are suspicious of naked wines, then the average punter must be positively fearful of them. But fear is borne of ignorance – all we need is to be taught. London is light years behind France in embracing the natural wine movement, and a decade behind New York, but with bars like Terroirs and Battu, we finally seem to be catching on.

I shared a bottle of white and red on my visit and enjoyed the symbols on the menu that help novices navigate the list of unfamiliar names – while a cloud predictably denotes cloudiness, a white bull appears next to semi-wild wines, and a red bull beside really wild ones. Our white Burgundy was light, fresh and uplifting, but the Languedoc red was fiercely feral. It smelt and tasted like a pig pen, and somewhat traumatised one of my fellow imbibers. But that's the deal with natural wines - you never quite know what you're getting until you open it.

I've yet to visit Brawn (it opened yesterday), but set in an old wood-turning mill in the gritty climes of Shoreditch, it promises an evolving list of 150 natural and biodynamic bins covering a range of styles and regions, including 12 wines by the glass and 500ml caraffe. Only time will tell if it has the muscle to compete with London's better established drinking dens.

Aside from the natural wine bar revolution currently gripping London, a sprinkling of sister wine bars have also popped up in the last month, beginning with the Fulham Wine Rooms in early November, which is hoping to mirror the success of the Kensington Wine Rooms. On my visit last week the vast, cavernous space was empty - making my friend and I feel like a pair of church mice in a wine cathedral. That said, it was nearly midnight on a Monday. The Enomatic selection was impressive - including favourites from Kensington such as Ken Forrester's the FMC, and new arrivals: a stunning Sassicaia 1998.

Last week, Farringdon favourite Vinoteca opened a sister bar in Seymour Place, Marylebone, completing a hat-trick of exciting openings in the past month. Having only worked in wine for the past three years, I've been lucky enough to join the industry at an incredibly fertile time, and the pace of change is showing no signs of slowing down. The mushrooming of forward thinking, relaxed, informed wine bars in the city is helping to put wine firmly on the cool map, and opening Londoners' eyes to the phenomenal selection of wines the city has to offer. I'm excited to see where the trend will move next.