RAER [rare] adjective; exceptional, unparalleled, unique, special, precious. Jackton Distillery’s first RAER Single Malt Scotch Whisky, The Inaugural Release, lands this September. It is a whisky born from a family enterprise that has reimagined what a modern Lowland distillery can be: female-led, rooted in South Lanarkshire farmland, and guided by one of Scotland’s youngest whisky leaders. For the Kean family, the release marks a pivotal moment. Jackton Distillery sits on the Kean family farm just outside Glasgow, a place shaped by generations of agricultural graft. When the family decided to build a distillery on their land, it felt like a natural extension of their work. They laid down their first casks in February 2020, days before the world changed, yet kept the operation moving. Every part of Jackton’s identity, from its visitor experience to its hands-on production and RAER whisky portfolio, has grown from that farm base and its grounded ethos. In an industry that can sometimes feel esoteric, Jackton’s approach is practical, open and unfussy. The Kean family have brought a modern sensibility to heritage and tradition. Their respect for the natural world runs through everything: livestock, landscape and sustainability. Draff feeds their cattle. Water is reused. Heat from distillation warms the buildings. “Nothing is wasted and everything comes full circle,” says Jacob Kean, who oversees farm operations. “Embracing the circular economy isn’t just eco-friendly, it makes our whisky more authentic.” These practices echo traditional farming, a reminder that the Lowlands were once the agricultural engine of Scotland and that whisky is shaped by the land. Jackton grows its own barley, building towards a genuine seed-to-spirit process with every stage happening on site. Jaynie Kean - nominated for Young Talent of the Year - Scotland Food & Drink Excellence Awards At the centre of the distillery is Jaynie Kean, just 28, Managing Director and one of Scotland’s youngest female distillery founders. Her leadership challenges inherited norms. Jaynie’s style is collaborative and transparent, inviting trade, media and customer feedback throughout the development of this first release. She champions whisky as a shared experience rather than a luxury commodity. The distillery’s community focus runs deep too, supporting people-centred charities and initiatives. A distinctive detail is the box: it carries the names of everyone who helped shape the whisky, a literal imprint of community on Jackton’s first single malt. Jaynie’s approach has been recognised at this year’s Scotland Food & Drink Excellence Awards, where she is nominated for Young Talent of the Year. Jackton Distillery is also shortlisted for Food Tourism Business of the Year and Independent Business of the Year. At a press preview in early 2026, Jaynie acknowledged her family legacy and shared the artistic spark behind RAER’s creative identity. Her dad imagined a stylish Scottish couple standing before a mountain vista, lifting their kilts to flash their rears at this “rare view.” A mural depicting the scene is on the visitor centre wall. The playful moment inspired RAER Whisky and its “RAER moments,” with “Make every moment RAER” now etched on the distillery wall at the entrance. Then, among the casks, sits a leather chair where visitors can record their own 'RAER' moments, a charming touch that captures the brand’s humour and heart. Left to Right: Claragh, Nicola, Jacob and Jaynie Kean The Lowlands have long been a working landscape, shaped by farming and, later, by legal distilling. After the Wash Act of 1784 split Scotland into two tax zones and placed heavier duties on Lowland producers, distillers here responded with scale and efficiency. Bigger equipment and cleaner, lighter spirit became the regional hallmark, a style born more from economics than romance. Jackton’s modern approach nods to that tradition. The spirit is shaped by its Lowland setting and by the same practical mindset that once defined the region, even as the Uisge Beatha itself moves in a more contemporary direction. This whisky arrives as the culmination of a patient process. The family took their time selecting the right casks and waited until the whisky was at its best maturation. RAER Single Malt Scotch Whisky, The Inaugural Release, is drawn from Bourbon, Pedro Ximénez, Amontillado and Oloroso casks, a combination that brings depth without heaviness. Tasting Notes: • Nose: fruitcake, fig, sultana • Palate: dark fruits, treacle, roasted nuts • Finish: long, mellow, with toffee, sweet spice and soft oak Bottled at 48.7% ABV, natural colour and non-chill filtered, the whisky is limited to 6,000 hand-numbered bottles and priced at £68. Jackton Distillery has quickly become one of Scotland’s most promising new whisky producers because it feels open, accessible and rooted in place and people. Jaynie puts it simply: “Whisky should feel special, but it should never feel closed off.” The Inaugural Release embodies that ethos. Collectable, yes, but made to be opened, shared and remembered. (Sharon Wilson). Bottles are available to pre-purchase now and here

Tony is a movie of soil and seeds: a young Anthony Bourdain moving through the early encounters that will shape his life, miscreant line cooks, the first kitchen skills like shucking an oyster, drugs, booze, sex. These are the seeds scattered across him, and he is raw matter where the forces that will shape his life begin to germinate. This indie‑biopic had its world premiere at the 2024 Telluride Film Festival and is now rolling out in limited release. It takes place over just a few months in Provincetown, where he has followed his high‑school crush Nancy (Sarah Desjardins) after being rejected for a writing scholarship. He arrives penniless, gets into a brawl, and lands a job as a pot washer. He lies to Nancy, keeping up the pretence that he is a writer as he attempts to woo her across various scenes. Provincetown is a coastal town in Cape Cod, and the patron of the Flagship restaurant, played by Antonio Banderas, gives him a job in his shellfish kitchen. Working there, he encounters Sal (Michael Mando), who introduces him to weed and coke. Sal is Bourdain’s Sal Paradise (On the Road is referenced several times), a chaotic magnetic character who drags him into the underbelly he’ll later mythologise. Meanwhile, he endures long, brutal days in the kitchen where he learns the hard way, collecting black eyes, burns, beatings, and being woken every morning by Banderas, whose hammock he is sleeping in, with a bucket of cold seawater. Anthony and Sal at the pass of the Flagship Johnson gives the film a coming‑of‑age texture, shooting Provincetown in sun‑bleached technicolour, with clothes and styling that anchor it in seventies culture. Jaws is showing at the local cinema. Close‑ups on the beach, in the kitchen, on stairwells, and through the window of a pizza place emphasise how tightly the film is contained. It is a capsule where Bourdain begins. The soundscape is equally vivid: the hiss of steam, the clatter of pans, the barked orders at the pass. It’s a sensory world that captures the paradox at the heart of Bourdain’s formation, the refinement of food and taste emerging from grimy, punishing kitchen labour. Banderas (the character is just know as Chef or Patron), keeps a painting in the kitchen, a portrait of a chef who killed himself after the fish for his perfect banquet failed to arrive. It’s a signal that culinary excellence demands discipline, obsession, and sacrifice, and a hint of the path Bourdain will eventually choose. Banderas is the mentor and counterpoint to Sal’s chaos: he maintains order and is the gentle north star pointing toward craft and mastery, the path Bourdain will ultimately follow. Meanwhile, Bourdain’s ambition to be a writer is portrayed as conceit, cut down mercilessly by the people he works with. He learns that nothing comes easy, but he also learns about food, kitchens, and restaurants. The oyster is central to the character of Bourdain. He writes in Kitchen Confidential about tasting one for the first time on a family holiday in France, and director Matt Johnson runs with the oyster as a metaphor for Bourdain’s development throughout the film. On the outside, it represents him learning his craft; on the inside, it hints at his quivering entrance into the culinary world and adulthood. Dominic Sessa (The Holdovers), who plays Bourdain, captures the conceit and vulnerability of a young man drifting through seasonal work, and he nails Bourdain’s voice with uncanny precision. There’s no romanticism: we see him grubby, lanky, dirty, wandering around in his underpants, stripped of myth and charisma. It’s also unmistakably a different time, his pursuit of Nancy would now be seen as stalking, and the macho kitchen brigade shows exactly what’s toxic in that environment. We’ve had to wait for shows like Burning Point and The Bear to expose how wrong this culture is; Tony simply presents it as the water he’s swimming in. In the end, the young Bourdain, through a series of blunders, starts to come clean. He tells the truth to Nancy and accepts that he is going to be a cook rather than a writer. The film closes with him interviewing for the Culinary Institute of America, no triumphant denouement, no sudden success or romance, just the beginning of honesty and the willingness to work. When the chef‑interviewer looks at his CV and says, “It looks like your experience is only a few months as a dishwasher,” Bourdain replies simply and truthfully, and gives his name as Anthony, not Tony. This signals a shift: the shedding of pretence, the start of discipline, and the first step toward the person he will become. I went along to see the film hoping that Matt Johnson would not romanticise Bourdain, and he doesn’t. Instead, he shows a real human, warts and all, and stays true to character. That honesty allows us, as equally flawed humans, to recognise the young Anthony Bourdain, the insecurity, the false bravado, the dubious morality, the hunger to become someone, and in doing so perhaps reveals why Bourdain in turn could later engage with empathy with so many people globally. Tony is a culinary coming‑of‑age film that explores the less familiar corners of Bourdain’s early life, but anyone who knows his later body of work will recognise it as a valuable touchpoint: the messy, unvarnished beginning of a man who would eventually learn to see the world with curiosity and care. Tony Dir. Matt Johnson Cast: Dominic Sessa, Sarah Desjardins, Michael Mando, Antonio Banderas 2024 | 1h 52m | USA World Premiere: Telluride Film Festival Release: Limited theatrical (Elevation Pictures)

MALMAISON is bringing together two of its most popular dining concepts, Chez Mal and SORA, for a limited-time menu celebrating the best of Japanese and steakhouse cuisine. Rolling out across all 18 Malmaison hotels until 30 September 2026, including Malmaison Edinburgh; 1 Tower Place, EH6 7BZ and Malmaison Edinburgh City; 21-22 St Andrew Square, EH2 1AY the exclusive SORA at Chez Mal menu combines signature dishes from both brands to create a unique dining experience inspired by the bold flavours of Japan and the classic French brasserie heritage of Chez Mal. Following the success of SORA at Malmaison York, Manchester Deansgate and its summer takeover in Brighton, guests nationwide will now have the opportunity to experience a specially curated menu featuring premium cuts cooked over traditional Japanese Binchō-tan charcoal, alongside expertly crafted sushi, sashimi and signature cocktails. Designed to showcase the best of both worlds, the menu pairs Chez Mal favourites with SORA's standout Japanese creations, including fresh tuna sashimi, tiger prawn nigiri and a selection of contemporary small plates. Craig Robson, Food & Beverage Director at Malmaison, said: "Bringing together SORA and Chez Mal perfectly reflects Malmaison's approach to hospitality, where we dare to do things differently, by taking familiar favourites and giving them an unexpected twist. "The response to SORA has been phenomenal, from its launch in York through to Manchester Deansgate and a Summer takeover in Brighton. Guests have loved the concept, so it felt only natural to bring those flavours together with our much-loved Chez Mal offering for a nationwide summer showcase.” John Woodward, Chef Director at Malmaison, added: "Chez Mal has built its reputation on serving exceptional steaks and brasserie classics, while SORA has developed a loyal following for its fresh sushi and contemporary Japanese dishes. "The SORA at Chez Mal menu celebrates both identities. Guests can enjoy premium steaks grilled over authentic Japanese Binchō-tan charcoal alongside sushi favourites such as tuna sashimi and tiger prawn nigiri, complemented by our signature cocktails and desserts. "It's a menu that combines craftsmanship, quality ingredients and bold flavours, creating something truly special for summer." The limited-time SORA at Chez Mal menu is available at all Malmaison hotels nationwide until 30 September 2026. For more information or to book, visit: Sora at Chez Mal | Malmaison Various sushi

A Dairy Story captures the Finlays’ pioneering experiment in cow‑with‑calf dairying, revealing how welfare, ecology and resilience can reshape dairy farming and how one woman’s legacy helped drive the change. A Dairy Story is a Scottish documentary that explores how keeping calves with cows at The Ethical Dairy holds the potential to change the future of dairy farming. The film was born from a simple, poignant question asked repeatedly by visitors to Rainton Farm, now better known as The Ethical Dairy in Dumfries and Galloway: Why are newborn calves separated from their mothers? For decades, the dairy industry’s answer has been an unequivocal yes, driven by the commercial argument that feeding calves their mothers’ milk is an inefficient use of a valuable product. Joanna Blythman writes of Holstein cows in her 2012 book What to Eat: “On some of the most ‘productive’ farms, these cows are managed so that they lactate for ten months of the year. They are kept in individual cubicles, often on slatted metal or concrete floors (to make cleaning easier) and only go out briefly, even in summertime, their only exercise being walking to and from the milking parlour.” David and Wilma Finlay, however, paused and wondered if things could be done differently; a significant challenge for what is now the UK’s largest cow‑with‑calf dairy. What they achieved and what this film documents challenges long‑held industry norms. The film arrives at a moment when dairy farms in Great Britain have fallen below 7,000 for the first time, with many farmers receiving prices below the cost of production. Rainton Farm, however, represents a small but growing movement exploring systems that prioritise animal sentience, environmental regeneration and long‑term resilience. David Finlay now shares his knowledge freely with farmers interested in cow‑with‑calf models. A Dairy Story follows David and Wilma’s journey and began its UK cinema run at the Cameo in Edinburgh with a special screening on 4 August. The film is a portrait, with striking bucolic cinematography, of a farm in transition where happy bovines frolic through clover fields. Planning for a regenerative, high‑welfare model began in 2008. The farm has been organic since the 1990s, and although a financially disastrous pilot in 2012 nearly ended the experiment, the Finlays committed fully in late 2016, introducing the cow‑with‑calf system across their 130‑strong herd. “It sounds like a small change,” says David Finlay, “but that one thing, leaving the calves with their mother, changes absolutely everything.” The film carries heart breaking freight too, because as filming began, Wilma Finlay was diagnosed with cancer, giving the project urgency and poignancy. She died in 2025, and the documentary now stands as part of her pioneering legacy and a record of the change she set in motion. There is also a paperback. LR: Wilma Finday, Charles Ellett, David Findlay At the Edinburgh screening, a panel included David Finlay; Charles Ellett, dairy manager at The Ethical Dairy; Peter Stevenson, Chief Policy Advisor at Compassion in World Farming; and Charlie Buchanan‑Smith of The Free Company in Balerno. What the film and discussion made clear is that although the system was started for animal welfare reasons, it has also had some commercial success. Charles Ellett had actually left the industry because of personal stress caused by witnessing the separation system, and the distress of the cows. His testimony brings into sharp relief how custodians of our livestock can be emotionally affected. Then David invited him for a cuppa and revealed his and Wilma’s plans. The cow‑with‑calf system sits within a wider diversification strategy that has allowed Rainton Farm to remain commercially viable while doing something the industry long considered impossible. Milk production initially dropped when calves stayed with their mothers, but as the herd adapted, lactation increased and overall output rose, a counterintuitive gain that challenges assumptions about efficiency. Yet milk is only part of the picture. The farm’s organic beef, raw‑milk cheeses, lamb, agritourism, education programmes and food events create multiple income streams that cushion the farm from the volatility of dairy markets. But the film shows how a regenerative system becomes economically resilient when paired with diversification, strong branding and a willingness to rethink what a dairy farm can be. Furthermore, the film shows that the calves and cows are properly pasture fed and the panel noted that labelling beef as grass-fed can mean merely that the herd eats some grass. At the Ethical Dairy cows graze on diverse pastures, turn the soil, and make it more carbon rich. Joanna Blythman says in What to Eat: “Organic cows graze on organic land that has not been treated with fertilizer or pesticides and great emphasis is put on keeping them on rich pasture that contains diverse types of grass, clovers, flowers and herbs because this helps keep cows healthy and makes for better, more nutritious milk.” At L’Escargot Bleu, owned by Fred Berkmiller, and at food events at The Ethical Dairy you will find the only certified Pasture for Life dining in Scotland, while The Free Company aligns strongly with the movement often serving PfL meat and has been awarded a Michelin Green Star. And then there is the issue of food security. During the panel, there was a brief but pointed reference to the Strait of Hormuz, the shipping corridor through which a significant proportion of the world’s oil and fertiliser feedstocks pass. Most dairies are dependent on global supply chains, which can cause prices to spike in an already margin challenged industry. The Ethical Dairy’s regenerative, pasture‑based model is designed to reduce that dependency alongside environmental benefits, welfare for animals and workers, biodiversity gains, and nutritional advantages. A Dairy Story shows that keeping cows and calves together can work and that this pastoral vision can become a reality. Stills credited to A Dairy Story Related content: take a look at some deeper dive articles here

Aberargie Distillery deepens its barley‑to‑bottle philosophy this coming September with the launch of Laureate and Golden Promise — two limited single malts that spotlight how grain variety shapes flavour. The inaugural duo opens a new series, Aberargie Expressions, inviting whisky drinkers to explore the character of barley in its purest form. Aberargie Distillery, the Perthshire producer known for its barley‑to‑bottle philosophy, is preparing to build on the sell‑out success of its Inaugural single malt with the release of two new whiskies this September. Named Laureate and Golden Promise, the pair form the first chapter in a new limited series: Aberargie Expressions. The series is designed to explore the individual elements that shape Aberargie’s whisky — beginning with barley, the raw material that underpins every dram yet is often overshadowed by cask type or age statement. For Aberargie, barley is a cornerstone of identity: both varieties used in the new releases are grown on the Morrison family’s farms, giving the distillery complete control from seed to spirit. While the Inaugural release was made from a mash bill of 52% Golden Promise and 48% Laureate, the new Expressions isolate each variety to highlight their distinct personalities. Laureate Edition Distilled from 100% Laureate barley — the modern, high‑yield strain widely used across the Scotch industry — and matured in 32% first‑fill Bourbon casks and 68% first‑fill Sherry casks. Golden Promise Edition Made entirely from Golden Promise, the heritage barley beloved by distillers in the 1960s and 70s for its rich, oily spirit. This edition flips the cask recipe, with 68% first‑fill Bourbon and 32% first‑fill Sherry. Released side by side, the duo invites whisky drinkers to explore how barley variety shapes flavour. Laureate offers a light contemporary profile, while Golden Promise is defined by depth, and texture. On a trip to taste the two expressions the Laureate grain paired perfectly with Belhaven Hot and Cold Smoked Salmon and various excellent sausage rolls and savouries from Mhor bread. The Golden Promise meanwhile was excellent with creamy cupcakes and Empire biscuits. The spread was enjoyed in a Golden Promise barley field. Graeme Mackeddie, Head of Distilling at Morrison Scotch Whisky Distillers, says the Expressions series is a natural evolution for the distillery: “Barley is where every whisky begins, but the part it plays in creating flavour can sometimes be overlooked. Expressions allow us to demonstrate our interpretations of each barley variety and give whisky drinkers the opportunity to explore the differences for themselves.” Aberargie is one of a small number of Scottish distilleries operating a true barley‑to‑bottle model. Golden Promise is grown in the fields directly in front of the distillery, while Laureate is cultivated on two other family‑owned farms. Golden Promise, despite its lower yield, remains central to Aberargie’s philosophy of heritage and traceability. Release Details Aberargie Expressions: Laureate Edition and Golden Promise Edition will be released in September 2026. Related content - whisky

The Tollhouse delivers modern European cooking with imagination and flair. Chef Jamie Cochrane’s summer menu is a riot of colour, texture and drama. The Tollhouse has a charming, zen setting, perched above the Water of Leith at Canonmills. There is a terrace, a private dining room and the main room, all allowing you to watch the river ripple gently while indulging in delicious wine, food and cocktails. I visited with fellow Bite contributor Lea Harris (aka Baker’s Bunny) to check out the summer menu created by chef Jamie Cochrane, previously of The Gardener’s Cottage. Jamie has globetrotted too, as chefs do, and the international influence shows in his bright, creative twists on modern European cooking. I am delighted to see the Spanish Ajo Blanco on the menu and Jamie’s spin turns this cool, classic Andalusian soup into something dramatic. Served in dark earthenware, the surface is veiled in charred leek ash — a smoky, black film you break with your spoon to reveal the white almond‑and‑garlic liquid beneath. Poached half-grapes bring gentle acidity, while crushed smoked almonds add savoury crunch. The result is rich, dreamy, and utterly unique; a humble soup transformed into something unctuous and memorable. Across the table, BB has taken a leap of faith. Coffee‑Roasted Beetroot with cashew cream cheese, chicory, brambles; a dish built on bitter leaves she normally avoids. But something magical happens here. The coffee‑roasted beetroot, or maybe the caffeinated grounds themselves, soften the chicory’s bite. She can’t explain it and doesn’t care; she’s too busy devouring the slightly smoky beet, using the green blade of chicory to scoop up the nutty cream. For her main course, she chooses the Brisket al Pastor, a dish so colourful it borders on psychedelic. A vibrant green Aji Verde, heady with coriander and mint, pools beneath an ingot of tender beef, its surface daubed with spiky harissa. What could have been a heavy winter plate instead feels light and summery: a bright succotash packed with beans, pineapple, cucumber lifts the dish even higher. A scattering of pink pickled red onion provides a final whisper against all that green. Meanwhile, I’m enjoying the Chicken Thigh, roast garlic aioli, vichy carrots, chard, jus, a plate as vibrant as it is comforting. The bones have been thoughtfully removed, leaving tender meat arranged beneath a sweep of rainbow chard. The carrot is soft and sweet, the jus brightens everything, and a thick dollop of outrageously good roast‑garlic aioli lifts the whole dish into indulgent brasserie style cooking. Never one to be defeated by two courses, BB summons her pudding stomach and dives into a feather‑light, unctuous Baked Basque Cheesecake. The balsamic cherries cut through the luxuriance with a gentle acidity, keeping each spoonful in perfect balance. I have the Chocolate Mousse, it has been given a dimple to fill with a pool of olive oil that makes it all so oozy. Off to the side sit misshapen chunks of minty white Aero, playful and cooling. The same care and imagination runs through the dessert menu as the rest of it, no Sticky Toffee Pudding or Chocolate Brownie thrown in as an easy upsell. This is a chef being allowed to do his thing unmuddied by microwave pings. We’ve just eaten the perfect à la carte summer feast, but The Tollhouse also serves a terrace menu I would happily order in full, a weekday Prix Fixe, and a once‑it’s‑gone Sunday roast. The food is accessibly priced yet with nothing phoned in. This is honest brasserie-style neighbourhood dining at its best and, with the kitchen championing local suppliers, it doesn’t need to cost the earth. I can’t wait to see what Jamie Cochrane and team dream up for autumn. (Sharon Wilson) The Tollhouse, 50 Brandon Terrace, Edinburgh, EH3 5BX - 0131 224 2424 - 50 Brandon Terrace.

Bread Street Kitchen promises polish and personality, but six years after its debut, the food still can’t keep pace with its neighbours — or its own name above the door. I first visited Bread Street Kitchen when it opened in 2021. I didn’t like it then; the food was pricey, forgettable, and when you put your own name above the door, you’re announcing a standard you then have to meet. It didn’t. Fast‑forward to summer 2026 and I’m invited back. Given the competition in the area, all of it excellent, I hoped they’d sharpened their game. Reader, they have not. The welcome is immaculate. Bright, polite, well‑turned‑out staff who are a credit to the place. Unfortunately, this turns out to be the peak of the evening. A martini to start is genuinely excellent. I order Cullen Skink Croquettes; Kate has Haggis Bonbons. The menu is a parade of crowd‑pleasers, burgers, fish and chips, and the signature Venison Wellington at £120 for two. The croquettes are fine, and Kate enjoys her bonbons. Hope flickers. Then comes the main event, or rather, the main disappointment. I orderv Roast Cod with capers and artichokes in a red wine and lemon jus. I an seduced by the Italianate accompaniments and don't pay enough attention to the red wine element. Red wine can work with a robust fish like cod, but only if handled with the delicacy of a surgeon. Instead, to borrow from Taggart, "there’s been a murder". A massacre, in fact. A beautiful piece of fish drowned under a brown tide of jus. The potatoes, capers and artichokes have been mashed into a sort of lumpy, beige concoction. The skin, naturally, has long given up. If you can’t cook an expensive, and increasingly scarce, piece of fish with the attention it deserves, at least do no harm. Across the table, Kate’s Ribeye arrives with fries and tenderstem broccoli. It is fine. She is happy. The bacon mayo is the only thing with personality. Dessert continues the theme. Kate’s Sticky Toffee Pudding is perfectly acceptable. My Tiramisu, however, is another gastro crime scene: a vast mound of mascarpone lightly dusted with cocoa, as if someone has whispered “Italy” and called it a day. We do see a couple tackling the signature Venison Wellington at the next table. It looks good — but at £120 for two, it should probably arrive with a choir. And here’s the real issue. Bread Street Kitchen sits shoulder‑to‑shoulder with Dishoom, Gaucho, Wahaca, The Spence, Hawksmoor and The Ivy — all of which deliver reliably excellent meals. In that company, you have to bring your A‑game. Six years on, Bread Street Kitchen still hasn’t found it.

Nico Simeone Lea Harris dives into Nico Simeone’s newest evolution: Lennox, a stripped‑back, swagger‑heavy reboot where indulgence rules, flavours misbehave, and the kitchen hums with raw, boyhood energy. Nico Simeone is a culinary David Bowie; he has the ability to evolve his style without losing his ideas and philosophy. Lennox, named for his childhood football team, is a swagger back to boyhood freedom and raw energy. Six by Nico on Queensferry Street has been stripped back and rebuilt; it’s sleek, intimate, atmospheric-sexier, but no less sassy. The food is unmitigated, uncompromising indulgence, so come with an empty belly. Mr H and I open with cocktails and let our server talk us into four small plates, a main and a couple of sides. My pick, a Rhubarb and Custard number that looks like it wandered in from the dessert menu, somehow earns its place next to the juicy, chilli-spiked Gordal Olives and the downright slutty Devils-on-Horseback with liver parfait and maple. Sweet and salty is the oldest trick in the book, but the dates and pâté turn it into full-blown umami sin. The Buffalo Squid has me in raptures: soft as angels' breath, filthy as a harlot, and the pickled celery is a revelation, but the nori ranch sauce gets lost. Voluptuous Mussels recline on a charred sourdough pillow under a punchy nduja and tomato blanket. The spicing is balanced, the bivalves don’t have to compete for dominance, each element has its own voice. Nico provides us with two extra dishes, one of his signatures, Gnocchi, Chicken Wings, Cacio e Pepe, and a Potato Terrine with Pickled Onion, Yolk Jam and Warm Tartare. Now this is where indulgence goes into overdrive; both come with really rich sauces. In fact, the chicken comes with three – a reduced chicken jus, a Pecorino Romano mousse and a huge amount of incredible beurre blanc. Although delicious, it is just too much. There are a couple of glitches with the spud, we find the yolk jam on the salty side, and, although the pickled veg cuts through the tartare, it is a tad too acidic. For mains, the Half Dry-Aged Duck with Panang Sauce, Lennox Chilli Oil and Cavolo Nero. Pink, succulent breast; confit leg that surrenders without a fight. The chilli oil brings heat without bullying the bird, though it does flatten some of the sauce's gentler notes. The cabbage has been over seasoned, making it a salty mouthful. The sides of Fried Baby Spuds with a salt and vinegar dust work well but alongside the duck, the addition of the roast garlic aioli doesn’t add anything. It would be entirely appropriate with the beef or pork dishes. The Corn Ribs with Chilli Lime Butter and Chorizo, though, are pure firecracker — sharp, zingy, exactly what the tastebuds ordered. Because of the two extra plates, Mr H and I are well stuffed, so take a breather before continuing our culinary journey into the realm that is dessert. We decide on sharing another cocktail; The Last Call – think molten after eight that is boozy with rum. And the pud we plump for is Smoked Banana, Custard Tart, Rum & Raisin, and Candied Pecan. Butter-rich pastry topped with the most unctuous dulce de leche custard, raisins plumped up with more booze nestled on a sweet, nutty soil. The fruit could be more smoked and a few more slices would be nice. To say we are replete is an understatement, never more have our gunwales been stuffed. Lennox does what it says on the menu – Unapologetic, Indulgent Cooking, with a few seasoning kinks still to iron out before it hits full stride. You need to choose wisely from the menu, otherwise your palate gets overwhelmed. Grab tables 5 or 6 to watch the kitchen action. Vegetarians and vegans are properly looked after, not an afterthought. Keep an eye on socials for the dates of their Collection Menu of ten sharing plates. The Lennox team is tight, sassy, endearing. Watching Nico at the pass is a pleasure. He encourages the younger members of the brigade with understanding, and they seem to thrive under his guidance. There is precision there too, but best of all they seem to be having fun amid the flames, noise and heat. LENNOX - 40 Queensferry St, EH2 4RA - 0131 388 6666 Opening hours: Tue - Sun 12:00 - 00:00. Closed Mon edinburgh@lennoxrestaurant.co.uk IG: @lennoxrestaurant

With notes from my granddaughter Macau Kitchen’s late‑July secret menu evening became a vivid portrait of Luso‑Asian cuisine in motion — and for Simone Hilliard, sharing it with her granddaughter Erica VR brought the experience into sharper focus. As Erica documented each dish with the intent of a critic in the making, the night revealed how food can carry heritage forward, and bind generations. Macau Kitchen’s late‑July secret menu evening became a vivid portrait of Luso‑Asian cuisine in motion — and for photographer Simone Hilliard, sharing it with her granddaughter Erica VR brought the experience into sharper focus. As Erica documented each dish with the intent of a critic in the making, the night revealed how food can carry heritage forward, binding generations through curiosity, flavour and shared discovery.Macau Kitchen’s secret menu evening in late July was a vibrant celebration of Progressive Luso‑Asian cuisine — and sharing it with my granddaughter Erica VR made it even more meaningful. Food has always been a thread that binds our family across generations, and watching her take notes with the focus of an aspiring food critic and chef showed that good food can bring together Boomers and Alphas! The Secret Menu event was a celebration for this tucked away restaurant. Kei and Hoeyan initially opened as a supper club and then moved to their premises in 2019 serving Macanese and Portuguese cuisine. Various incarnations later they are now serving Luso-Asian food marking, part five of a culinary progression where each stage embraced the region's diaspora and culinary influences. We began with the Apple Gula Melaka Mocktail, a cooling blend of apple, coconut sugar, tamarind and soda. “Sweet and refreshing,” Erica wrote — and she was right. It was the perfect antidote to the heatwave and a gentle introduction to the evening’s fusion of Portuguese, Malaccan and Macanese influences. The Octopus that followed was beautifully tender, its natural saltiness balanced by aromatic herbs. Erica VR noted it was “very soft and flavourful,” and I loved watching thoughtfully commit her verdict to paper. Then came one of the night’s most unexpected delights: crisp, sweet, zesty Fish Skin Salad marinated in ice. The nutty topping added depth, and Erica’s verdict “salad delicious with a nutty flavour” captured its surprising harmony. The Croquettes were feather‑light, never greasy, and paired with a bright garlic dressing. Erica wrote, “very light, not overpowered by flavours.” Next was a King Prawn in Sweet Curry, served with fresh pineapple. The interplay of sweetness and spice was spot‑on. Erica loved the prawn’s “amazing strong flavour,” even if the texture wasn’t quite for her, an honest critic! The final savoury dish, a traditional Portuguese Feijoada, brought comforting richness: beans, pork, blood sausage with pork fat, a dish steeped in tradition. Dessert was a revelation: a Black Sesame Mousse, airy yet rich, nutty yet delicate. Erica described it as “light and fluffy, like eating a rock,” referring to its striking, stone-like appearance rather than its texture. It was a charming observation. This event also revealed why Macau Kitchen is entering its next phase. Kei and Hoeyyn are widening the lens, embracing the full Luso‑Asian corridor: Goa, Malacca, Macau, Mozambique, Brazil and southern China, acknowledging that Macanese food is a diaspora cuisine still evolving. The dishes reflected that evolution: Southeast Asian brightness, Portuguese comfort, Cantonese technique, Malay aromatics, Goan spice traditions. It felt like a menu looking forward as much as back. So it was appropriate that I was reviewing with my granddaughter. Between a visit from a traditional dancing red lion, the warmth of the staff, and Kei’s storytelling, the evening felt celebratory. Sharing it with my granddaughter reminded me how food binds generations, and how cooking keeps tradition alive. (Simone Hilliard and Erica VR) Related content: more Asian restaurant content Macau Kitchen - 93 Leonard’s Street, Edinburgh EH8 9QY Photography by Simone Hilliard

Mrs Bite is delighted to offer Bite readers 20% off their food bill at Celestia throughout the Edinburgh Festival, right up until 31 August. It’s a generous offer — and a brilliant excuse to experience one of the city’s most confident Indian kitchens at the busiest, buzziest time of the year. Celestia’s cooking is bold, colourful and full of personality: refined without ever feeling fussy. I’ve written about their lunch menu before — dishes like Bhatti Murgh, Paneer Tikka and Scottish Lamb Curry that show real craft and thoughtful spicing. Reviews here. What diners and reviewers say TripAdvisor diners echo the same enthusiasm. Many praise the freshness of the ingredients, the creativity of dishes like Kasundi Monkfish Tikka and Lamb Biryani, and the warm, attentive service. The dining room’s soft lighting and sculptural ceiling get frequent mentions too, with reviewers calling the space stylish and welcoming. Other local reviewers agree. The Scotsman admired Celestia’s inventive flavours and elegant dining room. Edinburgh Evening News loved the creativity behind dishes like Jackfruit Patties, Saag Burrata and Stuffed Apricot Potatoes. What food creators say Edinburgh’s food creators have been just as enthusiastic. Across Instagram and TikTok, they consistently highlight Celestia’s modern, confident Indian cooking and the kitchen’s knack for refined dishes that still feel generous and comforting. EdinEats singled out the Kasundi Monkfish Tikka as a must‑order, while Tartan Spoon praised the balance of spicing and the restaurant’s polished presentation. On TikTok, Foodie Explorers’ clips drew excited reactions to Celestia’s sleek dining room and hefty portions. More recently, Eat, Sleep, Greet called Celestia “a little more special than your typical Indian restaurant” And the Festival Offer Really Is Worth Using Bite readers get 20% off their food bill. It’s a genuinely generous deal, especially at a time when Edinburgh is packed and great restaurants are in high demand. If you’ve been meaning to try Celestia, this is your cue. To redeem your offer all you have to do is book a table and mention the offer on arrival or at the time of booking. That’s it. Celestia - 18 Eyre Place, Edinburgh EH3 5EP, United Kingdom 0131 287 2914 This article includes a paid partnership with Celestia Standard Ts & Cs Offer validity — 20% off the food bill at Celestia is available from now 24 July until 31 August during the Edinburgh Festival period. Eligibility — Offer applies to Bite readers; one discount per table. Food-only discount — Discount applies to food items only. Drinks, service charge and gratuities are excluded. Booking requirement — Advance booking recommended. Please mention the Bite Offer when reserving or on arrival. Not combinable — Cannot be used in conjunction with any other promotions, set menus or discounts. Dine-in only — Offer valid for dine‑in meals; not applicable to takeaway or delivery.

Crémant d’Alsace celebrates a major milestone this year as it marks 50 years of AOC status — a half‑century that has seen it evolve from a regional speciality into France’s leading AOC crémant and one of Europe’s most exciting sparkling‑wine categories. Although the AOC was formalised in 1976, Alsace’s sparkling wine story began decades earlier, when producers experimented with traditional‑method winemaking inspired by neighbouring Champagne. The region’s cool climate, long ripening season and naturally high acidity proved ideal for producing elegant, finely bubbled wines, and by the late 20th century Crémant d’Alsace had become central to the region’s identity. Today, Crémant d’Alsace accounts for an impressive four in every ten bottles of AOC wine produced in the region according to Comité Interprofessionnel des Vins d’Alsace (CIVA). Its success extends beyond France: more than a third of production is exported, with the UK being a strong market. Its appeal lies in its combination of quality, value and versatility — a sparkling wine that offers Champagne‑method craftsmanship at a more accessible price. Made using the traditional method, Crémant d’Alsace is known for its fine bubbles, bright acidity and delicate orchard‑fruit character. Most cuvées blend Pinot Blanc and Auxerrois, with Riesling and Pinot Gris adding aromatic lift. Served well‑chilled, it shines as an aperitif and pairs naturally with summer dishes: think seafood, grilled prawns, salads, picnics and fruit‑led desserts. Rosé styles, made exclusively from Pinot Noir, bring vibrant berry notes that work with charcuterie and grilled vegetables. The category is also diversifying. Producers are increasingly exploring premium expressions, from single‑varietal cuvées to longer lees ageing and drier Brut Nature and Extra‑Brut styles that highlight precision and terroir. This breadth ensures there is a Crémant d’Alsace for every occasion, from relaxed garden gatherings to more elevated celebrations. Crémant’s popularity extends to other regions — Loire, Bourgogne, Limoux, Jura, Savoie and Bordeaux — each bring their own character. But Alsace stands out for its purity, elegance and consistency, making it the most recognisable and best‑selling AOC crémant. In the UK, crémant sits in the £12–£20 sweet spot and continues to grow as consumers trade up from Prosecco without stepping into Champagne territory. Scotland, with its strong sparkling‑wine culture and seafood‑led dining, has become an especially receptive market. A simple guide to your Crémant Crémant d’Alsace — France’s leading AOC crémant by volume. Fresh, elegant and delicately fruited, with fine bubbles and bright acidity. Typically Pinot Blanc and Auxerrois‑led, with Riesling or Pinot Gris adding lift. The lightest, most summer‑friendly style; extremely consistent and strong in export markets. Crémant de Loire — Chenin Blanc‑led, more apple‑and‑quince driven, often with higher acidity and a slightly more structured profile. Bigger region, big volumes, very consistent. Crémant de Bourgogne — Made mainly from Chardonnay and Pinot Noir; stylistically closest to Champagne but generally lighter and less complex. Quality varies more widely due to the large production zone. Crémant de Limoux — From the foothills of the Pyrenees; richer, riper fruit thanks to the warmer climate, often with a rounder, creamier texture. Crémant de Jura — Alpine freshness with citrus, green apple and a savoury, nutty edge from local grapes like Savagnin. Small volumes, very terroir‑driven. Crémant de Savoie — Mountain‑fresh, floral and light, often using Jacquère. Niche but distinctive. Crémant de Bordeaux — Softer, rounder, fruit‑forward styles using Semillon and Sauvignon Blanc; good value but less defined in identity.

A much-loved Category A listed Edinburgh pub reopens this week following a major refurbishment by Heineken-owned Star Pubs, which is headquartered in the city. The investment has turned Joseph Pearce on Elm Row into a top-class neighbourhood pub with a stunning new décor. The landmark pub formally opens its doors at 12pm 24 July following nearly seven weeks closure for the extensive works. Edinburgh born-and-bred Paul Henderson – a local resident and former regular – is moving from a career in social care to take the reins as the new operator running Joseph Pearce on behalf of Star Pubs. The revamp has completely renovated the pub’s iconic exterior and transformed the interior with a stylish design that incorporates original features alongside bold colours, contemporary touches and all-new furniture and finishes. Other improvements include a new kitchen and a lounge dining area that is available for private functions and parties. In line with Joseph Pearce’s new direction, it’s all change on the drinks and food front. The drinks selection covers all the bases from cocktails and coffee to premium lagers, spirits and wines, and the accompanying food menu caters for a wide range of tastes and occasions, too. Customers can look forward to lighter options like gyros, small plates and toasted focaccia with gourmet toppings, as well as heartier dishes spanning curries, noodles and traditional pub favourites like fish &chips and sausages & mash. Says Paul: “Joseph Pearce clearly holds a very special place in many people’s hearts. I’ve been blown away by the level of interest in the changes and all the enthusiasm for the refurbishment. Passersby have been photographing the outside and been desperate for a peek inside. Lots of people have told me stories of their connections with the pub and happy memories of good times spent there. “The new look is beyond anything I’d imagined; it’s quite simply beautiful. It gives Joseph Pearce a fresh start whilst staying true to its character. I can’t wait to throw open the doors and welcome everyone in.” Adds Matt Dyson, Star Pubs’ operations director for Scotland: “We’re investing more than £3.08m in upgrading our pubs in Scotland this year, and we’re delighted that Joseph Pearce is one of them. We’ve given it the works and tried to do justice to its handsome architecture. We want it to serve the local community as a neighbourhood hub. By popular demand its weekly quiz will be back on straightaway, and there’s a whole new schedule of social events planned for the autumn.” Joseph Pearce’s opening hours will be 12pm to 12pm Sunday to Thursday and 12pm to 1am on Fridays and Saturdays. 23 Elm Row, Edinburgh EH7 4AA