Irish comedian ARDAL O'HANLON: ‘I wouldn't mind sharing a beer with Roger Federer and picking up a few tennis tips'

I loved milky coffee from a very early age. My mother would be having a coffee when I'd come home from primary school, so I'd boil some milk, make a coffee – I think it was just Nescafé – and put a spoon of honey in it. We'd just sit there, like two old ones, and chat away about the day before I got on with my busy schedule of playing football outside.
I had my first drink, which was a pint of Smithwick's, at 15. My friends and I really planned it. We dressed up – I remember wearing a tank top and a tie to look a bit older – and went to a little country pub in a village called Essexford, about five miles from Carrickmacross, the town we grew up in, where they wouldn't have batted an eyelid.
My wife Melanie and I were teenagers when we started going out. For our first formal date I pulled out all the stops and made beef bourguignon with one of those horrible, powdery packets and got a bottle of red wine. I think it might have been Le Piat D'Or. At the time there were only three or four different wines in the shop – you got what you got.
A few years ago I was paid in wine and paintings for some stand-up shows in Paris. The guy who promoted the gigs ran a gallery next to the venue, so I picked up a couple of nice paintings, which I still have in my bathroom. Then he put me on the back of a scooter and we went to this little shop where I managed to get a bottle of Château Latour from 1965, which is now worth around £700.
When I was shooting Death In Paradise on Guadeloupe, I came up with this beautiful concoction of local rum, lime juice and honey. I'd sit outside my villa after a hard day's work, drinking it and watching the sun set in the Caribbean sea.
Sam Neill came to my house with some of his exceptional Pinot Noir. He has his own vineyard, Two Paddocks, in New Zealand and we became friendly for a little when he was working in Ireland. He's a polymath; he's a really good actor, very entertaining and a great anecdotalist.
I'd like Wes Anderson to offer me a job and break open a bottle of wine after I sign the contract. I'm also really into sports – I play a lot of tennis and have always admired Roger Federer, so I wouldn't mind sharing a beer with him and picking up a few tips on how to do that one-handed backhand.
Friday evening is cocktail hour. My kids, the ones that are still in the country, will come round or we'll have guests. I love to make good margaritas with Cointreau as the triple sec, Patrón Silver tequila and lime juice. I don't like them sweet so I go easy on the agave, if I use it at all. I will also stray a little bit and make spicy margs.
For my wife's birthday a few years ago, I invented a cocktail I called the rusty coalman for no good reason other than it was rust coloured. It had gin that I'd infused with coriander for three weeks, vermouth, maraschino and cherry liqueur, garnished with burnt orange and rosemary from the garden. This was during Covid, when there was time to experiment. It wasn't great but it looked good and a lot of effort went into it.
I love vermouth, not so much for the drink but for the iconography of the labels. Last year I visited the islands of Ireland for a documentary and was given a bottle of Valentia Island vermouth. It's beautifully packaged and only uses native ingredients from this island [off the southwest coast of Kerry]. I've been sampling it ever since with a twist of orange and a little bit of tonic.

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The Independent

3 hours ago

• The Independent

English wine is having a moment… so which ones should you try first?

In 1976, a group of French wine experts gathered in a hotel to blind taste some of the finest French wines against a lineup of Californian bottles. It became known as The Judgement of Paris. At the time, Napa Valley wasn't even considered as an internationally acclaimed wine region, and so it seemed completely obvious what the outcome would be. Spoiler alert: the French didn't win. Like all great stories, the underdog was victorious. In an unbelievably stunning upset, Californian wines dominated the judging, securing victories in both red and white categories against esteemed and notable châteaux and domaines from Bordeaux and Burgundy. While I like a triumphant story like this, what I really love are tales of equality through their difference. Not just picking one as being 'better' than the other – which is not particularly nuanced. I feel like this has also been the pervasive narrative for some time now with English sparkling versus champagne. We seem to have had numerous 'battles' and 'judgements' akin to the tasting of 1976 – but I think that's finally changing. I was delighted when it was announced this week that Sugrue South Downs, The Trouble with Dreams, Sussex 2009 (magnum) won Best in Show in the highly respected Decanter World Wine Awards. There are a total of 50 Best in Shows awarded out of more than 17,000 wine entries, and it is the first time a magnum format has made it into the top 50 wines in the world. Winemaker Dermot Sugrue said: 'Getting this wine in the world's top 50 confirms that England really is on the global stage when it comes to producing sparkling wines of the highest quality.' English wine has come a long way since the days of hobby winemaking. Once we found our stride and planted appropriate grapes on the correct sites with good investment, we started to fly. We have some truly world class winemakers making 'best in show' wines, and Sugrue is the pinnacle of this. I know I've said it before, but he really is one of the world's truly great winemakers and this win just further proves my point. As Sugrue said on the award: 'It's no longer the outdated narrative of England versus Champagne when it comes to sparkling wine. Now it's England and Champagne, because we really are on the world stage, alongside champagne and the other best sparkling wines in the world.' They really are equal, different and both beautiful. This news feels like a perfect high note on which to start English Wine Week, the annual celebration of all that's great about English wine. But it should also be met with a renewed call on our government to lean in to supporting our domestic wine industry. Wine GB' s first comprehensive wine tourism report published in 2024, revealed that '300 vineyards and wineries in the UK are now actively involved in wine tourism, with significant growth and investment forecast for the years ahead. There were 1.5 million visits to vineyards and wineries last year, up 55 per cent compared to 2022.' This isn't just about people visiting; it's the circular economic benefits that wineries and wine tourism can have on both local rural economies and the wider national economy, too. One vital starting step would be for the government to implement a 'cellar door relief' – a tax-relief scheme for wine producers selling directly to consumers at their cellar doors. Wine GB has said that such a scheme would 'encourage tourism and investment in the wine industry by reducing the excise duty on a set number of bottles sold on-site. This would help level the playing field with other alcohol producers* and boost the growing UK wine sector' (*this is in reference to beer and cider producers). It would be a small measure that could have far-reaching impacts. For our wine industry to continue to grow and develop, it really does require coordinated, government-level support, and our industry deserves it. As English Wine Week kicks off, what can we do as consumers? Well, drink more English wine for a start. We're seeing ever-increasing numbers of still wines available, which are an affordable entry point. So, this week, I'm recommending a selection of great-value-for-money bottles, which will hopefully whet your appetite for discovering more of what our home-grown wine sector is capable of. Here's to the start of a glorious summer full of English wine. Simpsons Estate Chardonnay, 2024 Available from Waitrose, £13 (RRP £17.25, on offer until 1/7/25), 12.5 per cent ABV If you love zesty, racy whites then this lean and cool chardonnay from the brilliant Kentish producer Simpsons will be a perfect pour for you. It's a glassful of bright citrus, crunchy green apples, with hints of fresh passionfruit and a taught, salty lick with refreshing mouth-watering acidity. Tesco Finest English Rosé, 2024 Available from Tesco, £12.50, 11.5 per cent ABV Made by the impressive Balfour Winery – who have a stellar roster of wines – this is a solid, 'entry-level' English rosé made exclusively for Tesco. It's not overcomplicated; expect tart redcurrants, cranberries and zesty pink grapefruit – just don't pour with expectations of Provencal pink. Bolney Wine Estate Lychgate Rosé, 2023 Available from Waitrose, £15, 10.5 per cent ABV This is like a bowlful of summer pudding in the glass. A generous blend of pinot noir and meunier, this delivers so much concentrated fruit – think macerated strawberries, sweet pomegranate, ripe, squishy raspberries and a heady English cottage garden in full bloom. It's lively and refreshing. If I had to pick one wine to drink all summer long, I think it would be Dear Noodles – an homage to Dermot and Ana Sugrue's beloved dog, who was a steadfast and loyal fixture in their vineyards. Reminiscent of the truly great rosés of the world, this is a glorious wine with bright cherries, crushed cranberries, and swirls of strawberries with fresh, light-as-air Chantilly cream. There's the most appealing texture, with a dusting of tannic chew (thanks to time spent in old barrels) that supports a long, and generous finish. Outstanding.

Sky News

6 hours ago

• Sky News

Festival season is here, but does politics have a place on the stage?

Festival season is under way, and leading the charge: the Isle of Wight Festival - dubbed "Europe's Woodstock" - with headliners including Sting and the Stereophonics. Former N-Sync star Justin Timberlake - a man who's crooned about his love of "dance, dance, dance" and has recently become a meme for his mic-centric moves on stage - is a headliner too. Meanwhile, Glastonbury Festival will see headline acts including Olivia Rodrigo, the 1975, and Charli XCX. But along with the headline stars and hot weather, politics has also found its way into the spotlight. Youth culture and political expression have long been part of the festival experience, with Vietnam, nuclear disarmament, Brexit and the Russian invasion of Ukraine all attracting attention over the decades. This year, with geopolitics seemingly at a boiling point, the Israel-Hamas war has had far-reaching implications. As the Israel-Iran war follows in its wake, the conflict has prompted strong opinions on both sides. Irish-language rap trio Kneecap 's upcoming Glastonbury Festival set has become a flashpoint for robust debate, drawing protests from those calling for their set to be cancelled, as well as those championing their right to speak out. The root of the contention? Kneecap band member Liam O'Hanna, 27, was charged with a terror offence earlier this year, accused of displaying a flag in support of Hezbollah, a proscribed organisation in the UK, at a gig last year. Hezbollah was proscribed in its entirety in 2019 because the government classed it as a terrorist organisation and said its attacks on Israel were "attempts to destabilise the fragile situation in the Middle East". Although "removed" from playing at Scottish music festival TRNSMT next month due to "safety concerns", Kneecap have remained on the Glastonbury bill, prompting the question: Is the stage a place for political opinion? 'If we think we're separate from world events, we're kidding ourselves' Faithless star Sister Bliss, who performed at the first of the re-instated Isle of Wight Festivals and is performing again this year, tells Sky News: "If we think that we're separate from world events, we're absolutely kidding ourselves. Our lives are tied intrinsically to everybody else's on the planet. "You can have certain people that express that in a way that is perhaps a tad crass, but I love that lyrically - especially on our records, in songs that we've made over the last 30 years - I feel that you can combine the personal and political in a way that's not tub-thumping or simplistic. These issues are very nuanced that are going on in the world right now." Speaking to Sky News at the Isle of Wight Festival, Clean Bandit star Grace Chatto says artists are right to use the stage to amplify their voice. "It is such a great place for political speech, like when Jeremy Corbyn spoke at Glastonbury - it was the most attended thing of the whole event, and it just brought such a feeling of unity and hope in that field on that day". The 39-year-old cellist adds: "Then recently, Kneecap and Massive Attack have just been so important, I think, and amazing." Earlier this month, Massive Attack, who have previously been critical of Israel, included footage of Hamas leader Yahya Sinwar and his family as part of a video montage at one of their concerts. 'I've got loads of friends who are absolute idiots politically' Fresh from the Isle of Wight Main Stage, Mae Muller tells Sky News: "With what's happening in Gaza, I know that's been a very prominent theme with people saying, 'Should we speak out about it or not?' But that's not political, it's a human rights issue. "It's important for us to use our voice, because not everybody can. If we feel strongly about something, and we can stand behind it, I think [the stage is] definitely a place to do it." Muller, who represented the UK at last year's Eurovision Song Competition - which became a highly politicised event despite the attempts of the organisers to keep it from the stage - continues: "Art is inherently political, and you can't really escape it. And we shouldn't want to escape it. It can be two things at once. [Politics] and fun can coexist." Meanwhile, Razorlight front-man Johnny Borrell, ahead of his Main Stage performance, tells Sky News: "Why not say what you believe in? Why does everyone get so precious? "You can disagree with people. I've got loads of friends who are absolute idiots politically - they think the earth is flat. I like them as people, but I completely disagree with them in politics". Borrell adds: "We don't have a problem with disagreeing, but if everyone's tapping away [mimes typing on a phone] and they're like, 'No, I'm really angry, I'm going to tap back,' that's a different thing. That's what's changed recently." A 'disruptor' festival, showing the world that anything is possible' Regardless of the polarised times, Isle of Wight Festival promoter John Giddings, 72, says the Isle of Wight Festival experience should be a break from activism rather than a call to arms. The 72-year-old, who represents artists ranging from Blondie to Phil Collins, told Sky News: "We're purely about music and entertainment, and we are to switch off from politics for three or four days. We're in the business of entertaining people, not preaching to people. And I don't understand why people attempt to. That's a different forum." Giddings, who relaunched the iconic festival after it was outlawed by authorities in 1970, fearing the crowds and rowdy behaviour could detract from the island, may be keen to avoid political controversy, but he's keen to break the mould in other areas. Following a long line of stars before him, including Bob Dylon, Jimi Hendrix and Joni Mitchell, singer Emmanuel Kelly has become the first physically differently-abled artist to perform on the Isle of Wight Festival's Main Stage. The 31-year-old former X Factor star, who supported Coldplay on their Music Of The Spheres tour last year, says as far as accessibility is concerned, the Isle of Wight Festival is a trailblazer. Kelly tells Sky News: "Somebody that's different is on the stage and is able to show the world that anything's possible." Echoing the festival's early rebel roots, he credits it with being a "disruptor", adding, "They make the extra effort to teach the others around the world to make the extra effort as well… It's important and it's happening and I'm excited for it." The Isle of Wight Festival runs until Sunday 22 June, with the Glastonbury Festival kicking off on 25 June.

The Guardian

8 hours ago

• The Guardian

Brandi Carlile review – country for the marginalised excels on the big stage

'I've waited to stand on this stage since I was 12 years old,' said Brandi Carlile, and somehow, she made her achievement feel like everyone's success. Within three songs of appearing at the Royal Albert Hall she had invited her 5,000-strong audience to sing along with her. You and Me on the Rock's evocation of family life became the best wedding karaoke ever. Carlile has been a voice for the marginalised in the rural roots scene for two decades. But her largest headline show in the UK – part of a five-date UK and Ireland tour climaxing at Glastonbury – suggests her outlier-country is now legitimately mainstream here. Her No 1 album with Elton John played no small part and this setlist paid gracious tribute to her collaborator. She even serenaded him with a yearningly harmonised version of its title track as he sat in his box like a silent angel. Despite his retirement Elton seemed a constant presence on stage, from the 80s pop-rock of Swing for the Fences to his protege's patter about a recent dinner with David. He even approved the tie to go with her natty black suit, although not her cover of Joni Mitchell's A Case of You. She sang it anyway – sparingly solo, with woozy panache. Elton may have encouraged Carlile towards her recent rockier sound but it's a gear she has always had. Few artists are so authentically versatile they could open with a lush and timeless crooner ballad, entreating us to Stay Gentle, then immediately unleash the hot-rubber-and-leather vibes of Broken Horses. Her clarinet-smooth voice stretched to ever greater technical feats throughout the night, until ululations turned to screams and individual notes threatened to hang forever in the ceiling. A fingerpicking acoustic medley paired two her greatest songs about motherhood, and their Art Garfunkel tenderness unleashed waves of catharsis in the largely female audience. On their feet for Hold Out Your Hand – half Lumineers, half Charlie Daniels Band – the mom rockers were less confident as Carlile ventured into grungier territory and by the time she was duelling guitars with the Hanseroth Twins they seemed a little lost. The show's landing was its sole stumble: a dazzling but late interlude by violin and cello duo SistaStrings indicated that Carlile was on the move, and up she popped up in Elton's box, spotlit by a condenser mic, her BFF sitting silently beside her. Was it worth the effort? By the time she had raced back for her closer, the show had lost momentum and an expected encore (the house lights staying defiantly down) never came. Still, a minor quibble of an artist who shines just as bright without the reflected sparkle of her diamond-bright duetting partner. Brandi Carlile is touring the UK and Ireland until 28 June