Other breweries popped up on the show. Characters were regularly sipping on Boulevard’s Tank 7 in scenes, and MolsonCoors had a Goonies-level of product placement for its hard seltzer brand in the third and final season.

The presence of Manhattan Brewing Co. really underscored the show’s local emphasis, and served as a reminder of how small breweries have a real presence and impact on local economies.

Manhattan Brewing Co. was co-founded by brewers Adam Krebsbach and Garrett Paulman, and Jake Voegeli, who handles sales and marketing. The trio previously worked together at Tallgrass Brewing Co., and when that company closed in 2018, they put the plan together to open Manhattan Brewing.

“We wanted to be Manhattan’s brewery. I didn’t necessarily care about selling a ton of beer in Kansas City or anywhere else outside of Manhattan,” says Voegeli. “It was important to make sure that the people of Manhattan actually had a brewery that they could call their own, the one that was solely focused on beer.”

“Somebody Somewhere” premiered in 2022 on HBO and aired its last episode at the end of 2024. It is inspired by the life of Bridget Everett, a singer, comedian, and actress who was born in Manhattan, KS. While most of the show was filmed in the Chicago suburbs, the cast and crew would often come to the city for premieres, parties, and some filming.

All About Beer editor John Holl spoke with Voegeli about the brewery’s role on the show, the impact it has had, and how they almost missed the chance to be featured.

Getting the Call from HBO

John Holl: It’s so cool to see the brewery featured in the show, but it almost didn’t happen, right?

Jake Voegeli: I think it was 2021. Our brewer Garrett Paulman was behind the bar, we weren’t open yet, and I was taking some packages in from FedEx or something and the phone rings. Garrett answers it and by the look on his face, I could see it was like a spam call because we get them all the time. So he says into the phone that we’re not interested and hangs up.

As I walked by I asked him who called and he said it was someone from HBO trying to sell us something. I continued on and a few minutes later I started wondering why HBO would want to sell us something, so I asked if Garrett remembered the guy’s name, and I found him online and sent him a private email asking for more details.

So, he calls back and he said they were starting the show and that Bridget Everett was starring and was an executive producer and that she wanted to feature businesses in the Manhattan area that she likes to visit when she’s in town, so they wanted us to be a part of it.

And so obviously I said ‘Hell yeah, let’s do that.’ And so we sent some stuff in and didn’t really know how much we’d be on the show, if at all. Then the first season came out, and we were like, ‘Holy shit.’ Manhattan Brewing was right there. It was amazing and it was a partnership that didn’t require us to pay anything. They just wanted us to be a part of it because Bridget loves the space and wanted us in there.

A well-known neighbor

John Holl: Did you know Bridget before this?

Jake Voegeli: No, we didn’t. We knew that she had come in before with her brothers – one lives in Kansas City, and another still lives here. So, she would come and visit and we would think it was cool, that she’d have a few beers, but we didn’t bother her. We’re LGBTQ friendly, and that’s a big part of her life on the advocacy front, so I think that it helped that our space is welcoming. A lot of breweries have that vibe, we don’t want to bother you. We just want you to grab beer and sit and have a good time.

HBO Comes to Town

John Holl: The show was mainly filmed in Illinois, but for the production in the city, were you aware it was happening?

Jake Voegeli: We didn’t, actually, because HBO just did b-roll in Manhattan. We did see Bridget this last season because they did a lot more actual shooting in Manhattan. Not a ton, they would just come by for some shots here outside and at some other stores.

One time we were eating at a Mexican place in town and looked over and saw them shooting. And it was cool to see Bridget because at that point we had already done a beer with her, and she came over to say hello, but mostly we didn’t really see any filming action.

Brewing Collaboration Beers

Jake Voegeli: We’ve actually done two beers with her. The first one was called Choir Practice, a reference to season one. We have an old opera house here in town called Wareham Hall where they did some filming and then Bridget came down and we watched the last two episodes of season one and then they actually had a choir practice after where Bridget got up and sang, and then we hosted an after party with her and her family at our place until 2 a.m. and it was a blast.

John Holl: Tell me more about the collaboration beer.

Jake Voegeli: Choir Practice was a Belgian wit with orange peel, tangerine peel, and very much like some other witbiers out there with the characteristics of coriander. And it sold out really fast.

Nothing much happened with season two because there was a writer’s strike going on, so for the season three finale, which we knew was the series finale on HBO, we wanted to do something big, and Wareham Hall was going to do something big again, and we started talking about doing a beer and Adam, out of nowhere, said ‘Why not call it Somebeer Somewhere?’ and that was perfect. So, we asked Bridget what kind of beer she would like to make and she suggested something light and easy, so we have a great recipe for an English Mild, so we rolled with that.

The art was done by a company across the street from us called Switch Wicked. They did a fantastic job just capturing the show’s essence and a little bit of Manhattan into it. And we got really lucky because they got almost the entire cast to come out for the finale here, which was really, really cool. They all showed up. So, they all got to see the beer. They all got to take some home. We hosted the after party again and they all came and took pictures behind the bar. It was a great time.

The country comes for a pint

John Holl: Seems like this has been a really great experience for you all. When did you start noticing that people coming into the brewery had found you via the show?

Jake Voegeli: Probably by the third episode of the first season. We actually had people traveling that came specifically to Manhattan from Colorado, from St Louis, from Dallas. And we just saw people just popping in and looking around. It wasn’t just because it was a brewery, they had a different look to them, and they were there because they wanted to see some of Bridget’s favorite places.

It quickly became a big thing with a lot of people coming into town and so the city of Manhattan did these life-size cutouts of Bridget that went to all the businesses that were on the show. So people could come in and take pictures at each spot. It wasn’t thousands and thousands of people, but I’d say hundreds.

John Holl: Do you all still have the cutout?

Jake Voegeli: Oh yeah, that’s going to stay for as long as it holds up. We do a lot of stupid videos around the brewery with Bridget.

John Holl: Even though the show has ended its run on HBO, it’s still streaming and new people find it all the time. Are you finding that the interest is still there?

Jake Voegeli: Absolutely. We get calls from New York, from Portland, Oregon and all over from people asking us to ship them beer. The Kansas laws are still pretty antiquated so we can’t do that.

Even though our collaboration beer sold out quickly, we don’t want to make it a year-round offering. The plan is to bring it back, but maybe just once a year. 

Staying true to roots

John Holl: It seems to me the benefit of the original plan of being a local brewery has worked in your favor, during this. I imagine you would have been successful because of who you are and the approach that you’re taking, but it does seem that that focus on local has helped this relationship with the show grow and has helped it feel more special for drinkers and consumers. Is that fair? 

Jake Voegeli: Maybe Bridget saw that. We never really asked her, ‘Why us?’ We probably should have, but we never did. I like to think that because of that ethos that we started off with, that was one of the things that drew her to us. Also having it being like a safe space for anybody to come in and drink. I think that that really helped.

Staying true to who we are, I like to think that really helped, and it still helps us to this day. We know a lot of people that have moved to Manhattan, not because of us, but we were a major part in that final decision, which is so much fun. It’s so much fun to hear those stories of people that come in and they see our space and they love what we’re doing. Then they say, ‘This is where we should move.’

A feel-good story on and off the screen

John Holl: It’s refreshing to hear how well this process went for you all. Thanks for sharing your story.

Jake Voegeli: Bridget was so instrumental in making this positive for all of us here in Manhattan, especially us, because she was very much adamant on using local Manhattan things and showing that off in the show. It was amazing. She is such an amazing person, and we are so grateful for that. Because without her, I don’t think it would have gone as smooth as it did.

This interview has been condensed and edited for clarity.

Pull Up a Stool is a regular feature on All About Beer. Reach out to editor John Holl at JohnHoll@allaboutbeer.com with suggestions on brewing professionals that should be featured. And to support our journalism, please visit allaboutbeer.com/support

The post From Choir Practice to the Bar. How One Kansas Brewery Made it Big on HBO’s Somebody Somewhere. first appeared on All About Beer.

Out of nostalgia and obligation I added it to the cart.

Not too long ago the idea of summer specific offerings from larger breweries was met with excitement and reverence. Sam Adams Summer Ale comes to mind as one that led a generation of beer drinkers to wish for the warm weather as soon as it arrived every Spring. Bright and lemony, it never crossed into the soda like sweetness offered by shandies. Sam Summer, first introduced in the mid 1990s – was exciting because it was a limited run, it conjured up ideas of hot afternoons on the lake, camping, or just hanging around a backyard cookout.

At some point years ago the Boston Beer, the company behind the brand, changed the recipe by using what they said were different lemons. That taste was more artificial, and a bit of soul was lost. It never regained that snap and vibrancy it once had, at least for me. The brewery would again change the recipe in 2019.

Now, before you roll your eyes, this is not another column where a guy who has been writing about beer for a long time laments that the landscape has changed and wants things to go backwards. It’s perfectly reasonable that palates change as do life experiences. Sam Summer lives happily in my mind in a good way for my mid-to-late 20s. There are drinkers today who still get those experiences in their own way today, and I’m happy for them.

Summer Refreshment

I was at the local beer store to buy a 30 pack of Genesee cream ale when I saw the Oberon. Genny Cream is a beer I’ve had a fascination and fondness for as long as I can remember. Simple green and white cans, easy drinking, thirst quenching. There are no frills, no grand tasting notes, nothing to say except it’s a beer that does the job it’s supposed to do.

Being the editor of a beer publication is a charmed life. There are a lot of samples that come into the office that I gladly drink and catalogue and take tasting notes on. There are occasionally leftovers, and on a holiday weekend like July 4, I will load up one cooler of those hoppy and experimental ales and lagers to bring them to parties where my beer loving friends will be present. They can dig around and find something that strikes their stout or hazy fancy.

A second cooler is filled with Genny and that’s what I go back to again and again. It’s simple, consistent, pairs with everything coming off the grill, and keeps me hydrated. It’s a tradition I’ve created for myself that fits a long weekend where I try to unplug from work.

Fading Rays

Which brings be back to Oberon.

Bell’s Brewery, now owned by Kirin, has put significant marketing behind Oberon. There’s a big party at the brewery to celebrate its annual launch. Some line extensions have been introduced.

For craft beer drinkers of a certain age, and for new ones coming of age, the familiar sun logo – a cross between a bumper on CBS Sunday Morning and the angry sun in Super Mario Bros. 3 – is a visual Pavlovian cue that warm weather is upon us.

I opened the first can of the 12-pack about an hour before I was compelled to sit down at the table to write this. I had two more in quick succession to confirm my suspicions. This is a perfectly OK beer. The orange peel comes through, the medium body keeps the taste buds engaged and the tongue a bit fat. A 5.8% abv gets the good time going a bit faster than other summer seasonals. This year, for me, it was just tasting a bit different, a little diminished.

I recall fondly summers, in my late 30s, on the lake whiling away the hours, going through cases of this with friends. We all (mostly) have kids now, so the abv does more harm than good come the next day.

At this point in my life Oberon is a good nostalgia beer. It brings back more memories than it does help make new ones. I suspect there are drinkers out there that feel the same way, as well as younger ones who feel the opposite.

Forever summer

Summer is a great time to drink beer. Hard Seltzers have taken a lot of the wind out of the summer seasonal beers, but beer lands a bit better than the seltzers and other flavored malt beverages, there’s something that and a little more soul to it. Something that feels a little more real, substantial.

There was a time in craft beer where watermelon wedges were served with watermelon ales, or blueberries added to pints of blueberry summer ales. They added visual pop and flavor to these beers and reminded us of where we were on the calendar.

Seasons are fleeting. The older we get the faster they seem to go. Having a drink of nostalgia brings happier times to the forefront of the mind. Breweries of all sizes now make their own summer seasonal, and this column, if nothing else, is an encouragement to get out there to make some warm weather memories with new-to-you beers.

And for those drinkers who don’t want to let go of summer no matter what the calendar says, MolsonCoors announced that its Leinenkugel’s Summer Shandy is now available year-round.

For me? I’m happy. Oktoberfest lagers have been on shelves since early August and Labor Day weekend means it’s almost time for the winter warmers to arrive, and with it fresh nostalgia.

Since 1979 All About Beer has offered engaging and in-depth articles and interviews covering every aspect of brewing and beer culture. Our journalism needs your support. Please visit our Patreon Page to show your appreciation for independent beer writing. 

The post Summer Beer Blues: Have They Lost Their Cool? first appeared on All About Beer.

Kidd and I have never met or even spoken before, barely interacted online, and he’s openly revealing his insecurities, anxieties, and regrets, all while his three-year-old son Soren playfully chats it up in his car seat on the drive to daycare.

Founder of the beer satire website Don’t Drink Beer and co-host of the popular Malt Couture podcast, Kidd effects an easy, comfortable, and conversational style, but I’m still surprised he’s ready to jump right into the psychological deep end with me. For years, he operated behind a carefully constructed online persona, cloaked in anonymity by his avatars and usernames, shielding himself from the public. As the voice behind DDB’s thousands of salty beer reviews, podcast with tens of thousands of listeners, and tons of social media followers, he invited his audience in one anonymous and funny beer review at a time.

People gravitate towards Kidd, they always have, even if few have ever met him. He rarely travels or attends beer events. Yet people feel like they know him even if they know very little about him.

Shaped by events in his childhood, Kidd grew obsessed with stability at an early age. He long strived to achieve a measure of security, often at the exclusion of everything else. He’s always possessed a strong sense of anxiety, a feeling that at any moment, things could go south on him. And then last year they did. He was diagnosed with Stage 4 colon cancer at age 39.  

Kidd is not letting his diagnosis stop him. He’s had a plan since he was seven years old. And he intends to follow it.

In his writing and podcasts, Kidd primarily sets his lens and comedic satire on luxury goods and experiences. He’s fascinated with exploring the obsession others have with them, especially in the shadowy world of rare beer, all while he himself is deep in that scene.

A man of contrasts, he’s torn between an obsession with stable professionalism and an artist’s burning need to perform. A lawyer in a conservative practice area by day, his beer alter ego DDB craves subversion and chaos. He loves poking fun at the nerdier elements of the beer community while remaining one of its geekiest members. Firmly ensconced in the professional and financial mainstream, Kidd identifies with outsiders and advocates for under-represented communities. Deeply respectful of the experiences of his youth, he’s spent a lifetime trying to escape them.

Now, Kidd is newly contemplating difficult chapters in his history amidst the uncertainty of his future, granting him a remarkable level of candor with strangers that is both disarming and refreshing as he reexamines his life choices.

“Let’s say you have like two, two-and-a-half years left. Are you going to go out exaggerating and not tell the whole truth?” he asks. “Why not just dump it out, all the insecurities, things that I like, or didn’t do well enough?”

The Boy From Fresno

If you want to understand Kidd, you must understand Fresno, the city where he was born and raised. Located in the broad, flat interior of California’s Central Valley, Fresno is a place accustomed to taking some shit. Rural and hot, caught halfway between San Francisco to the north and Los Angeles to the south, Fresno is often the butt of Californian jokes. The Daily Beast once named Fresno the 55th smartest large city in the United States. Out of 55. Locals are used to the jokes, even from breweries, but they still sting and leave residents, both current and former, with some sensitivity to the subject. That certainly is the case with Kidd.

“It’s definitely a part of my upbringing,” Kidd says. “Growing up in Fresno, it’s like, everywhere you go, everyone’s going to have some remark about being from Fresno, and it’s even worse than LA. You get judged as though you had some ability to decide where you live as a kid.”

Kidd describes his upbringing as solidly working class. His father worked on copier machines and as a sales rep, while his mother spent 30 years working for Child Protective Services. Watching his mother work influenced his worldview, as did his interactions with Fresno’s substantial Hispanic and Hmong populations. 

“I saw a lot of things growing up,” he says. His experiences led to an appreciation for the diverse backgrounds of others and for his family’s comparatively advantaged economic status.

Young Alex loved comic books. He was an overweight kid, not particularly interested in athletics, and stayed indoors a lot. He started collecting comics and Teenage Mutant Ninja Turtles action figures, which sparked in him a desire for completionism, a need to tick every box, collect every set. He sought out obscure cards, ones the local stores didn’t stock. Acquiring the hard-to-get cards made him feel good, boosting his self-esteem.

He also loved drawing, attending extension classes at the local community college. “I wanted to be a comic book artist,” he recalls. “I would draw my own comics and my dad worked at the place selling copiers. So, I’d make my own comics on his machines and then bind them and pass them around at school.” The response of classmates to his work also felt good, encouraging him to publish more often.  

When Kidd was in first grade, his dad was diagnosed with multiple brain tumors and had to undergo surgery. “It was a super stressful time even as a little kid,” Kidd recalls. “My parents had just had my sister, who was not even one at the time. I was six and it was kind of a rocky time.” Kidd recalls that for his birthday that year, his cake was a meatloaf. “Looking back, cakes are not expensive. But it was one of those things that stood out. I was like, ‘Oh, this is different.’”

The surgery was successful, but it gave Kidd a taste of the destabilizing impact medical emergencies can have on a family, leaving a lifelong impression on him. “That was something that was very childhood altering for sure,” he says.

After his father returned to good health, the experience left Kidd incredibly conscious about the fragility of his circumstances and imbued him with a life defining desire for stability.

While he still enjoyed drawing and wanted to become an artist, he experienced anxiety about the stability of his life and worried about his financial future, twin concerns underlying all his decisions moving forwards. These concerns took hold in a conversation with his mom. While discussing his desire to become an artist, his mom asked, “Do you want to be the guy who draws comics, or do you want to be the guy who owns the comic book publishing company?”

The question left young Alex dumbstruck.

He left the discussion thinking that maybe he should do something more intellectual.

By seventh grade, he consciously began laying the foundation for his future. He asked himself two questions: what do I like and what am I good at? “I was always pretty good at explaining or arguing about things,” he says. “In the back of my mind I thought, ‘Maybe I could be a psychologist or something.’” 

He also knew that he enjoyed performing. He just needed to find a way to get paid for it.

Alex Kidd, Pizza Party Host

When Alex was 10, with his father’s health issues stabilized, the family moved to the nearby suburb of Clovis. “It’s a different kind of world because when you think of Fresno, the clichés are agriculture, meth, and Hispanic people,” Kidd says. “But Clovis has its own kind of scene. It’s like the Brentwood or the air quotes fancy part of Fresno.”

The change in location also resulted in a change in Alex. After experiencing economic insecurity for the first time, he noticed his classmates were wealthier, prompting him to become concerned with money. He picked up several jobs as a young man. After working retail, Alex started working at John’s Incredible Pizza, an all-you-can-eat buffet restaurant, arcade, and family entertainment center akin to a Chuck E. Cheese. He worked as a birthday party host, where he entertained kids three to 10, making balloon animals, playing games, and generally being funny.

From the age of 16 to 19, Alex played host to more than 400 birthday parties at John’s, often running three back-to-back 90-minute parties a day from Friday to Sunday. After each party, he’d clean the room and get it ready for the next party.

“Sunday was the real moneymaker,” he says with a laugh. “That’s when all the kids would have their birthday parties.”

At one point he had three jobs, working as a host and server at The Old Spaghetti Factory and a retail clothing gig. “I remember I would just fill any space that I could with work,” he says. 

He worked Monday, Wednesday, and Thursdays at his other gigs and all weekend at John’s. “I was just living off the tips and the wages were just abysmal. You’re making $7.25 doing such hard, weirdly specialized work for no money.”

Despite the low wages and his young age, Kidd kept his perspective. “Fresno isn’t some ultra wealthy zone,” he notes. “You’d get families that could barely afford the party in the first place. Or they collected money at the end of the party from relatives and stuff. So, you’ve just spent two hours and you’re not getting a tip on this. But that was part of the experience.”

By high school, Kidd’s weight jumped to 240 pounds, and he describes himself as a “really overweight kid.” He still wasn’t interested in sports, but he did love making people laugh. “It was very much the class clown type of thing,” he says. “You know, the classic defense mechanism of using comedy to hide your insecurities and avoid scrutiny.”

In a nod to his future self, Kidd and his buddies loved making funny videos for his Buchanan High School classmates. “We had video announcements every Friday and me and my friends were in charge of hosting them. So, we hosted and other people shot and edited them. Early, early on, that was something I gravitated towards.”

“We didn’t know at the time, but we were just making sketches,” he says. “We were literally just making a 10-minute sketch show to make the school news interesting.”

He also joined drama and debate, where he enjoyed mixing the performance and intellectual aspects of creating and delivering a monologue. “I found I was pretty good at doing improv, which is a category of improvisational debate,” he recalls. “And that was before I even knew what improv comedy was.”

Kidd eventually participated in the school’s talent show, where students were directed to show off two skills. “The two talents I picked were freestyle rapping and stand-up comedy, which are the two hardest things to do in the entire fucking world,” Kidd says. After years of practicing at kids’ birthday parties, the talent show gave Kidd his first real taste of performing comedy before an audience. He loved it.

He took runner-up to a guy who lip-synced to a Toby Keith song. Years later, he still sounds miffed at the outcome, but it left him with increased confidence and a revelation. “When you’re overweight, if you’re not scoring touchdowns, you can compensate with comedy,” he says.

While Kidd enjoyed the limelight, he was also focused on getting out of Fresno and feared that the performing stuff was a distraction. “I knew that you don’t make any money as an artist,” he says. As a high schooler he thought, “Okay, I gotta get my professional life in order.”

So, Kidd decided to become a lawyer but wasn’t sure how to achieve that goal. “It’s not like my dad was a lawyer,” he says. I didn’t have somebody who was like, ‘Hey, you have to do this, or you got to take these prereq classes.’” 

He joined mock trial and was the student representative to the Clovis City Council. He even ran for class president, and won.

“I had this idea when I was in ninth grade, that I kind of get along with everybody,” he recalls. “It’s not because I play sports. I’m not really like gunning for anyone’s girlfriend. I’m not in any segmented thing. So I thought I could represent people in a way that’s different from the established popular kids’ social group.”

Kidd also wanted to effect some change. “I remember wanting to improve the school food,” he says. “One of the things that everyone ate was ranch and roll. You would literally just buy rolls, dip them in ranch. And that was an actual thing that everyone ate. And I was like, ‘Dude, this is not real food.’ And I was already overweight, and the options were abysmal.”

He also wanted to engage his school in more charity efforts. “I remember also thinking that I might have a perspective a lot of these other kids didn’t have.” Kidd enjoyed connecting with other students, many of whom considered themselves outsiders, like him. In a school of 3,200 students, it was easy for kids to slip through the cracks or feel a lack of connection to the place. It was 2001 and many students volunteered for the military, following the September 11 attacks. 

By his junior year, Kidd ran for student body president. He used his dad’s photocopy service to blanket the school with black and white posters filled with nonsense jokes, like “Vote for Alex Kidd, he’ll get rid of the pirate problem.’” 

He lost that race in circumstances he suggests were questionable. But he had bigger issues to worry about: his father’s brain tumors were back and required surgery. “That kind of stopped my career in politics,” he recalls.

He put comedy and performing on the backburner, with a plan to return to it, and focused on his true goal: getting into the University of California Berkeley. 

“It was important to me to always be like, ‘Yeah, it would be cool to be an artist, but I gotta make sure that everything’s okay.’ I always wanted to get the professional side established. And then dip my toe into some fulfilling artistic stuff when I have the chance.”

Despite his focus on the future, Kidd still loved playing improv games with his friends. They didn’t drink or go to parties, so they’d go on walks, chain smoke, and riff on different scenarios.

“We didn’t know what we were doing but we’d just say, ‘Oh, what if this guy came in here and did this.’” He experienced the euphoria of working with a team of smart, funny people and quickly grew addicted to it. “Those are some of the best times and I just love being surrounded by people that are quick and funny and can tag and do callbacks, it was like the type of person I liked to hang out with.”

Reflecting on times spent messing around with his high school friends, Kidd still manages to center the experience in a larger context. 

“It never felt like a valid career or something I could pursue,” he notes. “But it has been an important outlet for me throughout my life.”

Escaping Fresno, Always In The Rear View

Kidd was obsessed at an early age with attending the University of California Berkeley, the founding campus of the state’s public system and one of the nation’s top universities.

“I’ve always loved that school because it was the best public school and all I went to was public schools,” he says. And coming from Fresno—it always comes back to Fresno—he felt he had something to prove. “I had this academic chip on my shoulder, and I really wanted to prove to everyone that I was a smart kid,” he says. “I was smart, but I don’t think I was cut out for an Ivy League or anything like that. And also, I thought in my heart of hearts, fuck those people. I saw a lot of that as an institution of people who maybe didn’t earn it. Whereas at a good public school, you couldn’t just get legacied in.”

And then there was Green Day, Operation Ivy, Rancid, and AFI. Berkeley’s punk music scene is legendary, and Kidd heavily identified with its anti-authoritarian ethos. The campus was notoriously political and left leaning. This was the era of George W. Bush’s presidency. Affirmative action fights loomed on campus, anti-war protests raged, and Kidd wanted a piece. 

“There was so much to be angry about and at that time, that’s where I wanted to be. If I didn’t get in there, I didn’t know what I was going to do,” he says.

But Fresno wasn’t done with Kidd just yet. As much as he wanted to attend Berkeley, his practical side once again intervened, convincing him to do a couple years at the local community college, and then transfer. “It cost so much money to live in the Bay Area,” he recalls. “I was always, always trying to save money and not be an idiot. I constantly had this feeling of instability, where I’m like, ‘Don’t overextend yourself.’ Because it’s better to just live way below your means.”

Besides his mother gently suggesting he not live as a starving artist, Kidd’s parents never tried to direct his future. This caused him to be even more ambitious. “It’s funny, they never really pushed me,” he notes. “They were more like, ‘Hey, you can do what you want’ in a hands-off approach. That made me even more driven. It was weird, that aloof approach almost made me seek the validation more to do something more dynamic.”

The pressure on Kidd was always of his own making. 

And the goal was always singular: get out of Fresno and stay out. “I always had this idea that you could end up just going right back to Fresno if you’re not careful.” Kidd had a drive to succeed but knew from experience that “nothing is really guaranteed.” So, he attended community college, paid lower tuition, and saved money. He didn’t have a credit card, fearing debt, and avoided buying things.

In his mind was the thought that “alright, I’m from Fresno, I gotta dig my way out of whatever that is.” 

The pressure continued. 

“I’m a white, straight dude with nothing wrong with him, nobody should be helping me out. There are people who are smarter and better than me and people who come from other opportunities, and I just want to try my best to make sure that my kids don’t end up at a two out of 10 elementary school.”

This focus included not drinking until he got to Berkeley. Kidd played bass in local bands and identified with the straight edge subculture affiliated with many of his favorite hardcore punk rockers, which involves abstaining from alcohol, tobacco, and recreational drugs. 

“I’d be like, ‘If I’m drinking or doing drugs, or doing this shit, I’m holding myself back,” he says. “Those are going to be obstacles that I introduced to myself.” So, he continued to abstain.

His relationship with alcohol was also influenced by his weight, which was still well north of 200 pounds. He started exercising, lost weight, and liked how he looked and felt. When he thought of beer, he recoiled, associating it with stupid jocks. “What’s the most infamous thing you know about beer?,” he remembers thinking. “That it makes you fat and lazy and is so bad for you. I didn’t want to go back to that high school life so there was a health motivator as well.”

Despite appreciating his hometown and the lessons it imparted, Kidd focused on getting out of town. When he finally transferred to UC Berkeley, Fresno was never far from his mind and the fear of having to return continued to drive him.

A Straight Edger Falls for Beer

At UC Berkeley, Kidd didn’t join anti-war protestors or soak in liberal politics. Instead, he did the unthinkable: he joined a fraternity. He didn’t care about football and had a two-year social disadvantage compared to other non-transfer students. Kidd wanted to make up for lost time. So, he reached for the first available shortcut.

And it changed his life.

“I wanted to meet people as fast as possible, because I was going to be out of there,” he recalls. He didn’t know anyone on campus. He majored in philosophy, which was a tiny program at Berkeley, and his roommates studied math and computer science and “they didn’t go anywhere.” So, he joined Zeta Beta Tau (ZBT), the world’s first and largest Jewish fraternity whose membership is today non-sectarian.

Skeptical of fraternity life at first and not a drinker, Kidd still managed to quickly connect with the ZBT guys. “At Berkeley, it was kind of a crazy place with a lot of different characters,” he says. These weren’t rugby or lacrosse dudes but filmmakers and guys from around the world. “I don’t know how they all found each other. Even though it didn’t make sense on paper, it ended up working out great.”

Kidd immediately used music as a way to connect with people, putting to use his people skills. He DJ’d the rush and fraternity events, playing Pennywise or Mars Volta, which attracted recruits interested in his kind of music. They were often guys who also thought fraternities were lame. They’d go to punk shows together in the Bay Area.

“The greatest irony is I met a bunch of like-minded people, and it worked out fantastic,” he says. “But it was so antithetical to my beliefs and what I thought.”

Kidd took a class on writing in the style of the Heuristic Squelch, a satirical magazine published by UC Berkeley students, where he learned to write Onion-esque articles and other “faux journalistic pieces.”

Kidd started drinking as a social lubricant at frat events and during Mario Party games. As he was a few years older, he leaned away from the Natty Lights and towards the beer a roommate homebrewed and bought. That was when he first realized beers didn’t all taste the same.

His roommate would go to the local liquor stores and bring back beers with insanely high alcohol levels, a hallmark of the early 2000s. And Kidd started getting curious. “I’m drinking a St. Bernardus 750 and it felt like a different type of drinking,” he says. “It’s funny, because at that time, he was like the beer god. And I was learning from him. He was just advanced enough to kind of show me the ropes.”

“We thought we were really on the fringes because we didn’t know anybody who even drank craft beer, let alone tried to make it.”

For his 21st birthday, Kidd and his fraternity brothers took a train to a town 40 minutes away to secure a keg of Stone’s Arrogant Bastard. Stone was hard to find in the area and a 7.5-percent ABV bitter bomb sounded amazing. They loved the caustic language on the bottle warning that their baby palates weren’t worthy of drinking it. “It had this adolescent rite of passage aspect to it: you can’t drink something this bitter. You can’t handle flavor. It was all the same trappings of the music scene, but in beverage form. I had never tasted something that aggressive or that bitter.”

Kidd was hooked. He started homebrewing alongside his roommate and conducting trades on BeerAdvocate.com, where he was a member in the mid-2000s. He really wanted to try Dogfish Head 120 Minute and traded for it. 

The Stone Vertical Epic series blew his mind. He started experimenting more, drinking different beers at Jupiter, the famed Berkeley beer bar. 

He Googled information about bittering units and became obsessed with locating beers others hadn’t heard of. The ZBT guys would grab a bunch of unknown craft beers and play Japanese RPGs. He saw beer as another way to express his outsider status, kind of a flex.

The Birthday Party Lawyer

After a brief respite at Berkeley, Kidd recommitted himself to the professional plan, enrolled at law school in Los Angeles, and reverted to his prior spare habits. He discarded a lot of his stuff and moved into the living room of a one-bedroom apartment in Koreatown. He put up a partition and thought, “this is awesome, I only have to pay half of a one bedroom.”

He largely stopped drinking and homebrewing, because he couldn’t afford it, and focused on school to the exclusion of almost everything else, including beer and performing.

For fun, Kidd occasionally drew cartoons and wrote short comedy posts on MySpace, where he amassed 15,000 followers. While he loved the reactions to his writing, he thought, “What am I doing with this? I’m in law school? Who am I writing these for?” He deleted his MySpace account, shelved comedy writing, and refocused on his legal studies. He thought, “once I become a lawyer, all those things could come back bubbling up to the surface.”

Again, the comparison to the lifestyles of classmates loomed large. Many lived in luxury and high-rise apartments in LA’s fashionable neighborhoods. They could afford nights out. Meanwhile, he didn’t have internet at home because it was expensive, and he figured it was free at the law library. Kidd retreated into solitude.

The feelings of instability returned as he studied for classes and eventually the bar exam.

“I have to pass this,” he told himself at the time. “If I don’t, I’m going back to Fresno.”

Kidd didn’t know what kind of lawyer he wanted to be. He initially contemplated criminal law, because he had seen it on television, his mom worked for CPS, he had liberal leanings, and he was anti-police. After entering Southwestern Law School, which has a top entertainment law program, he tried that route. 

It was the era of Entourage on HBO, and everyone had the same thought. Kidd worked for one entertainment company and hated the work, which largely consisted of redlining screenplay agreements. He wanted to see the inside of a courtroom and to perform.

Kidd also worried about the low level of starting pay for entertainment lawyers. So, he pivoted. He tried to audit a class on worker’s compensation law because the adjunct professor was a partner at a large firm and he instead ended up landing a job interview. The professor was impressed with Kidd’s high school work history, which was one of the only things on his sparse resume. The professor told him that worker’s compensation defense was essentially like waiting tables, you massage people’s egos, manage expectations, and get them to settle. He offered Kidd a job.

“I always think about that,” Kidd remarks. “How I was so ashamed to be a birthday party host and it was the thing that got me my first big job.”

Kidd’s upbringing in Fresno prepared him well for the response he gets when he tells people his area of practice. He’s quick to note that worker’s compensation defense “is a career path nobody aspires to” and lacks the prestige of entertainment law. But he’s good at it and it plays to his strengths. He’s constantly in court, arguing cases, dealing with high volume numbers, and regularly doing trials. He admits to “weirdly loving it.”

“I ultimately realized that if I’m trying to transfer to a different type of law because of how other people react when they hear it, what a stupid way to frame your life,” he says.

The unglamorous practice area also afforded him something other legal jobs would not: time to pursue other interests.

The Rise of Don’t Drink Beer

With Kidd’s first legal job came the financial stability he long craved. While worker’s comp defense paid about half the rate of other first-year lawyer gigs, it changed his life. Kidd could afford his own bedroom. He could go out to eat. And he finally had time to engage his passions for comedy and beer.

He started taking classes at Upright Citizens Brigade (UCB), the improv and sketch comedy group co-founded by Amy Poehler. He performed standup sets a couple nights a week for several years. The two primary components of his life, law and comedy, fell into a natural working rhythm.

“One makes the other possible,” he says. “Being a lawyer provides security and stability to do comedy. And comedy is the blow off valve that allows me to do the lawyer job forever. The two complement each other. I know so many burned out comedians and so many burned out lawyers, so I guess I’m lucky in that regard.”

In 2015 he helped found a sketch comedy group called Dr. America with other members including Stephen Loh and Michael Gabriel, his now long-time collaborators and co-hosts on the Malt Couture podcast. 

Loh recalls that Kidd would show up to sketch team meetings dressed in a suit. “So half the time we’d get lawyer Alex showing up,” he says. “The other times it’d be his true self, a guy in loud screen printed band shirts that grew up playing in punk bands. There wasn’t really an in-between.”

Kidd often pitched a lot of high concept ideas that were chock full of multiple ideas, often without any seeming connection to one another, according to Loh. When he started reading Kidd’s DDB reviews, he understood where it came from. They collaborated on simplifying his sketch ideas before working up to the absurd and ridiculous points.

Loh wrote one sketch based on Kidd’s ability to make balloon animals from his days as a birthday party host. In the sketch, the team dressed as clowns and crashed their car. As Kidd slowly died on stage, he made a balloon animal. As he twisted it together, the audience stood up to see what he was making. And when he finished and collapsed on stage at the feet of a balloon dog, the crowd erupted in applause.

Kidd also returned to homebrewing once he moved out of the Koreatown living room and had some space. He would bring his homebrew into work and let the other attorneys try it.

Before stopping in to watch UCB shows, he’d grab beers from a little market nearby that had a well-curated beer selection. He’d watch the comedy shows while sipping on a St. Bernardus from the bottle. He’d get distracted by the beer, thinking about the styles and flavors. He’d then stop back into the market and ask for similar beers. “It was just a seamless thing, craft beer and comedy for me,” he recalls. “The consumption of craft beer led to the production of comedy like a closed loop.”

As he encountered different flavor profiles, his mind started to spin, wanting to know the details. He’d study beer judging guides but found them lacking, so he dug a little deeper into brewer interviews, brewing books, and blogs. He was fascinated by what he could learn from homebrewing. 

“Homebrewing is some of the best education you can get,” he says. “And I failed so many times, with so many batches, each batch in your mind is like $80 worth of ingredients and just the hours it took. But you learn each time.” He was engaged with the reactions of people drinking his homebrews. One time he failed to move a decimal over while scaling up a salt addition to a German sour ale recipe and ended up with 42 bottles of seawater, he gleefully recalls.

Long before he became interested in beer, Kidd exhibited completist tendencies. From his early days collecting comic books and action figures, Kidd developed a drive to learn everything about a subject, especially if there was a list involved. He has seen every movie on the American Film Institute’s top 100 list and is currently reading every Pulitzer Prize winning novel. 

At one point, Kidd spent two years reading The Story of Civilization by historians Will and Ariel Durant, which won the Pulitzer for general nonfiction in 1968. Written over the course of four decades, the complete set spans nearly 10,000 pages across 11 volumes.

Kidd explains these tendencies through the lens of popular culture. “There’s an ordering element and a satisfaction in gamifying things,” he says. “You can cross it off of a list. In so many years of playing video games, and particularly Japanese RPGs, so many things are quest based. You go on these elaborate quests that you set up for yourself.”

As Kidd’s interest in beer grew, he spent more time on beer websites like BeerAdvocate.com (BA). The site, founded in 1996 by brothers Jason and Todd Alström, was a raucous online playground for beer lovers that hosted discussion forums as well as consumer written beer reviews. The site aggregated the data from millions of beer reviews, issued numeric scores on a five-point scale, and even listed the top 250 rated beers. Kidd set off on a quest to acquire and drink all 250.

“That was very involved,” Kidd admits. “It was another list-based thing but it updated algorithmically so the bottom slots constantly shifted. So, it gave me a perpetual thing to chase.” He spent countless hours trading for rare beers with people he’d never met across the country. “A lot of these were draft-only stuff at festivals so I really had to work connections to figure out how to get it.” He would have someone go to a local beer store and buy a sixtel keg of a beer and then fill a bottle with it and mail it to him. “There were all these schemes and things that forced me to go all across geography lines,” he recalls. “It taught me a lot about things I value in terms of context.”

Where many beer lovers would have traveled to the source, Kidd almost never did. He remained focused on building for his future, whether it be school, law, or eventually buying his own place.

Kidd made more than 150 trades for beers in two years, at times receiving up to 10 packages a day at the 740-square-foot condo he shared with his future wife, Normandy, whom he met while he was in law school and she an undergrad at Loyola Marymount. “Alex was an almost mythical character on the beer trading sites, everyone knew him,” says Drew Pool, co-founder of Wren House Brewing in Phoenix, Arizona, who traded beers with Kidd.  

As he worked his way through the 250 beers on BA’s top-rated list—he would go on to try 247 of them with three retired beers remaining out of his reach—he set his sights on a new quest: conquering the White Whale List.

Compiled by BA’s power users, the fabled list of the top 100 rarest beers in the world posed a nearly insurmountable task, something that of course attracted Kidd. He paid $1,800 for a bottle of Cantillon’s Soleil De Minuit, a “cloudberry lambic” from the legendary producer. Kidd estimates that he spent hundreds of hours and tens of thousands of dollars tracking down beers on both lists.

To date, he’s managed to tick off 77 beers on the White Whale List, with the rest being extinct beers or ghost whales, or ones he just can’t justify paying $6,000 for a bottle.

“There’s very few that really crack that $2,500 barrier,” he notes. “And those are all basically just passed around by 50 different people. I can tell you the 50 people who have either owned it, traded it, moved it around, and they never get opened. Their value is more in the myth of someone being a possessor.”

In securing these and other beers, Kidd combined his drinking interest with his comedy skills and started writing longform, humorous reviews on BA. The typical online beer review usually follows a straightforward if unexciting formula, with a few dozen words covering a beer’s appearance, smell, taste, mouthfeel, and overall character. 

Kidd derided this format as boring and incapable of capturing the true context of a beer. His reviews routinely clocked in at 500 to 700 words with big blocks of text containing obscure musical and cultural references. BA’s Todd hated his reviews and told him to quit it. “I think he thought I was trying to degrade the quality of their data or draw attention,” Kidd recalls. “And I just was like, ‘No, I’m not gonna stop. This is how I want them to look. And this is how people like them.’”

Kidd was writing under the alias “SubpoenaDeuces” at the time, he didn’t attend the popular BA get-togethers in Southern California, and no one knew who he was. He just kept writing his lengthy reviews.

After receiving a few extended timeouts from BA’s leadership, Todd Alström eventually leveled the permanent banhammer and gave Kidd the boot for his reviews and a series of other pranks and shenanigans aimed at what he viewed as the site’s authoritarian direction. 

By this time, Kidd had other plans. “Getting banned from BeerAdvocate was actually what made me just want to have my own website,” he recalls. “Their ultra militant admin strategy actually helped me because it took a platform away. So, I made my own website.”

He Drinks Beer So You Don’t Have To

In August of 2011, Kidd’s first post on dontdrinkbeer.com went live. It simply said:

“Dont drink beer. I will take care of that for you.”

The site’s tagline read “Drinking beer, so you don’t have to.” That motto continues to adorn the site today.

After spending a decade chasing the world’s rarest and most expensive beers, Kidd turned his lens on the culture, skewering the beer geek obsession with whale beers and the ethos surrounding it. The irony wasn’t lost on Kidd. He reveled in it. He had little interest in reviewing everyday beers easily accessible to drinkers around the country. His early reviews effected an exaggerated character endeavoring to try the world’s rarest beers. 

“The gestalt was to take the rarest or most coveted beers and take them down a peg with harsher views because that didn’t really exist,” he says. “It was supposed to have a subversive appeal. The idea was that I would drink the rarest beers so that you wouldn’t have to feel inadequate or the need to chase them. It was going to be my job to try these beers, tell you what they taste like, and give you an alternative. To say, “Listen, you don’t need to drink these beers.’ It was kind of tongue in cheek because the people who covet them the most, they want to drink them.”

This aesthetic fit Kidd’s own personal beer journey, of course, which continued in pursuit of the White Whale List and the rarest and often most expensive beers in the world. The blog only fueled that drive. He negotiated three times trying to buy a bottle of Drie Fonteinen Selectie C, but ultimately balked at the suggested price of five to six thousand dollars.

In his review of Cantillon’s Soleil De Minuit, the $1,800 bottle of lambic he bought, Kidd wrote the beer “is a dog whistle to how deeply maladjusted and passionate someone can become, while singularly demonstrating a depth in a niche hobby. This is an Ahabesque pursuit in the strictest sense. In pursuing something so massive, the white whale itself destroys the organic love of whatever craft existed.”

The DDB blog design was stripped down, with most posts featuring a poorly arranged photo of a bottle and a beer in a glass, usually on Kidd’s brown and white speckled counter, stovetop, or next to his toaster oven. The appliance was so ubiquitous that it became famous among his growing fan base. His reviews were punctuated with seemingly random memes and gifs, bringing an eccentric lightness to each post. Kidd eventually struck an even more discordant note, changing the site’s design to a kid’s WordPress theme topped by a pink elephant and other zoo animals.

Kidd reliably produced content to feed the growing interest in his quirky, sharp, and funny take on beer reviews. Before launching in August of 2011, he banked reviews so he had a steady stream of content available. He quickly started averaging one post a day. A year later, he doubled that number, and then tripled it some months.

He also loved that he could write blog posts and remain anonymous. His anonymity, however, attracted attention. “People were like, ‘Who is this guy?’ Because most everyone knew each other at that point,” he laughs. “In the culture, if you were in Southern California, everyone went to the same releases and the same bottle shares and shared what they traded. I didn’t go to bottle shares. The reason all these pictures are just in front of the toaster and stuff is I drank all these beers by myself, for years and years.”

After trading beers with Kidd, Pool of Wren House became a fan of Don’t Drink Beer and its cynical yet engaging and funny takes on craft beer, but had no idea who ran the site. “It wasn’t until later that I connected the dots that Alex was DDB, it was a secret,” Pool laughs. “It didn’t come out for many years that Alex was DDB.”

Kidd’s reviews were singular, engaging, frenetic, intentionally obtuse, witty, and above all funny. Littered with obscure pop culture references, ranging from Scandinavian metal bands to ’90s Japanese video games, they were often hard to follow, all by design.

“Sometimes nobody really understood what he was talking about in his review but you could understand the whimsical nature of beer and how special and impactful it could be,” Pool says.

Augie Carton of Carton Brewing in New Jersey agrees. “He’s a gamer, which I’m not, a big millennial music fan, which I’m not, and he’s a bit of a fashionista, which I’m not,” he says. “So, when he strings all those metaphors together into his beer reviews, it’s almost like reading David Foster Wallace because so much of what I’m reading, I have to figure out or look up what the fuck it means to find if it’s actually funny. And the great reveal is, it is.”

Firmly grounding his reviews in satire, DDB lampooned the culture of rare beer while being deeply conversant in it. To make the detailed level of jokes that hit with this audience, the author had to be one of them. “For something like DDB, he is joking about the industry but you can’t make a very accurate joke without clearly knowing and caring about it,” his Malt Couture co-host Michael Gabriel says. “He has both of those things, almost like this constant state of contradiction.”

“He’s the Vonnegut of beer writing,” suggests Carton. “He’s never not satirizing. There’s tons of insight in a satire, like Vonnegut’s love of humanity and hate of what humanity is doing. There’s his love of beer and hate of what beer’s doing, right? And, like Vonnegut, he’s a legitimately funny guy. So, it all makes for fun fucking reading.”

Kidd loves using satire as a way of disarming his audience and getting them to think about the industry and its tropes in new ways. “So much truth can be said in satire,” he says.

He remains fascinated with the culture surrounding rarity and engages in an anthropological study of its contours and rougher edges, one beer review at a time. 

“What essentially is Don’t Drink Beer?” Kidd asks. “It’s presenting a kind of idol toppling everyman that looks at the world’s most coveted beers and asks, ‘Why are they coveted? What type of subculture surrounds it? And what does that say about the nature of things that we value?’”

Expanding the DDB Empire

Kidd constantly surveyed beer and internet culture to direct DDB to new and emerging areas, including video content. Never content to mine one gag for eternity, a year in he started releasing a series of grainy, low-res YouTube beer reviews poking fun at other video beer reviews. “Every single person was doing a 20 minute long, single shot, unedited, talking head YouTube review,” he recalls. “That was seen as the future, and they were all getting double digit views. Just unwatchable shit. I wanted to stay anonymous, and I definitely didn’t want to do that.”

So he stayed off-camera and mockingly effected a boneheaded character, akin to those played by Sacha Baron Cohen. “In the clowning school of theater there’s this type of comedy that Cohen is the master of, la bouffant, the idiot. It’s a heightened version of whatever truth is, straight out of five act plays, Molière, and finds the character who is self-assured, confident, and overdoes things. Then have that person be the mouthpiece of serious things and you can freely lampoon them. Because you’re presenting this guy who thinks he’s a homebrewer, thinks he’s a professional brewer, and from that optic you can exaggerate all the pre-existing tropes of the beer culture, making fun of them. But because it’s an exaggerated version, people can go ‘Well, I don’t do that. But yeah, I get the joke.’”

He hated that video reviewers were talking about widely accessible beers, like who cares what these random guys think of Sierra Nevada’s Narwhal Imperial Stout? So, he lampooned the reviewers, but with rarer beers. 

In his review of Cantillon Kriek, a Belgian sour beer much lauded by enthusiasts, he poured the lambic directly into an Ikea cake pan to mimic a Belgian koelschip and then into a red Solo cup. “It reminds me of Crystal Light that they serve at my son’s dance recitals,” he feigned. He usually ended his videos with an exaggerated catchphrase, “Get it at Binny’s!,” referencing the popular Chicago beer store.

Behind the scenes, Kidd elaborately planned out the videos, including the scripts, camera angles and movement, and use of props, in contrast to the single take effort of other video beer reviewers. “It had to be seamless with no edits and have fidelity to the thing I’m making fun of, and it was pretty hard but you also have to make it look shitty at the same time so it’s relatable.”

“I think the net result is that people still watch them and show their friends a decade later,” he laughs. “Whatever those were, they captured the zeitgeist of people thinking it was someone worthy of making a farce in the beer culture.”

Kidd has cultivated an unusually strong relationship with his audience. His social media pages, especially on Instagram, rack up thousands of likes when he posts memes augmented with various beer-related additions and humor. But it was his Barleywine is Life (BiL) Facebook page that caused his popularity to explode, eventually posing a challenge to his anonymity.

“I first saw Alex’s work when I came across his Barleywine is Life Facebook page,” says Kelly McKnight, the lead research and development brewer at New Belgium Brewing. “It was a hilarious parody on the craft beer culture that was priding itself on tearing breweries and beers apart. I also was able to learn a lot about hype beers from BiL.”

BiL is awash with increasingly raucous memes and inside jokes, many of which feature Photoshopped pictures and cartoons of Kidd. A recent one captured him as Jesus at the Last Supper with a bottle of Sierra Nevada’s Bigfoot Barleywine. The intensely loyal group, with more than 5,000 members, celebrates several BiL Holy Days, including one on Kidd’s birthday, September 13, when they celebrate him as its Dear Leader.

“Although there is a true passion and appreciation for the beer style, humor is definitely the core of why people are still so engaged in it,” says Melodie Simond, an admin on the BiL Facebook page. “And more than a few people, myself included, have made real friends through it.”

Kidd maintains a carefully connected relationship with his intensely loyal fan base and focuses his efforts on making them laugh, intentionally at the exclusion of a broader or less beer knowledgeable audience. 

“If you are at Don’t Drink Beer, you probably mean to be there,” he says. “Very, very rarely do people end up there by accident.” Matching his original intent to focus on drinking the world’s rarest beers, Kidd also acknowledges that consuming his content often requires his audience to already have an elevated level of familiarity with the subject. 

Kidd is happy with his uncompromising approach and thinks that trying to appeal to a broader audience would ruin the joke. “I write in a way that assumes that you already have all the information you need,” he says. “In reality, I don’t really handhold. My content is kind of niche and esoteric. And if I have to sacrifice setting up the joke, then it just subverts it and kind of sells out the people who are there for it. It shows your hand.”

Kidd knows his audience and he targets his efforts on making them laugh. “I write for a lot of people in the trenches that do these jobs and that work in and around beer,” he says. “I write for the attractive front of house girl who has to deal with dipshits asking for her Snapchat. I write for the guys who want to open their own shop right now, shift brewers, and they want somebody else who can talk shit because they can’t.” 

Kidd is also proud of the percentage of his audience that is female in a historically male dominated industry, both in numbers and focus. “I know it’s traditionally seen as a dudes’ game,” he says. “I’m very proud that I have a 22-percent female audience. It’s extremely difficult to write the type of content that I write in the way that I do and secure that demographic.”

Kidd views his work as helping to unite these groups. “I like to think that in dunking on these people, you bring in other sections of the beer industry, including female brewers who haven’t been taken seriously. You get all these swaths of people from different walks of life. But I’d say the unifying thing is they’re all just normal people involved in the beer world. None of them are super wealthy, they aren’t commoditizing it like the wine or whiskey worlds. I like to think I write for normal people who have gone deep down a rabbit hole and have enough information to appreciate what I’m writing.”

He acknowledges that his somewhat inaccessible approach to content results in accusations of elitism and can turn off some. “DDB can be accused of gatekeeping or being elitist or dismissive, and it’s probably all of those things,” he admits. “But it’s not in a pitchfork way or a way that’s attempting to shut other people out. It’s just like, if you want to interact with this content, it’s here, assuming you have the prereqs. I’m here to provide a different type of commentary.”

He also understands that others think that he shouldn’t yuck someone else’s yum.

“I get that criticism a lot, actually,” he notes of his content dunking on people who enjoy things that he doesn’t. “And I think that they’re missing the point that it’s more a commentary on who’s enjoying these things. Why do these products exist and why do they sell so well? If somebody really enjoys smoothie sours, great, they’re in a taproom contributing money.” But Kidd also notes his views likely reflect the people making the beers he ridicules, and his audience appreciates his efforts. “I don’t think anybody’s necessarily better than anyone else,” he says. “It’s just a reflection of where we’re at, with things that brewers are compelled to make and what will sell versus what they want to make.”

Kidd also acknowledges that his early comedic efforts sometimes went too far and don’t stand up well today, with jokes about women, sex, and even getting cancer. “The tone and humor of the site in 2011 was almost 2010s YouTube humor,” he notes. “It was emblematic of the time, like cheap sexual jokes. It was stuff you could kind of get away with just because you’re like, ‘Oh,  that was written in a parody. I don’t sanction that, that’s not me. That’s the Don’t Drink Beer mouthpiece.’”

The reviews occasionally got him in trouble with his parents, who didn’t really understand the site or its purpose. In one review of Hair of the Dog’s Matt, a famously under carbonated beer, Kidd called the beer “flatter than a Taiwanese gymnast.” His dad quoted the line back to him. Kidd cringed a bit. His humor evolved over time and away from some of the problematic earlier jokes.

“Alex has said that he can’t even read his early stuff, the references and the sense of humor of it,” his Malt Couture co-host Loh says. Loh notes, however, that comedy is ever changing and that Kidd has always been sensitive and willing to adapt when certain jokes and references are no longer socially acceptable.

Loh also notes that many of Kidd’s early jokes were as part of a character and don’t represent him. “People don’t understand that Alex is like the Colbert Report,” Loh says. “There is Alex that drinks beer and has opinions but on dontdrinkbeer.com he’s more of an exaggerated, worse version of himself. He’s playing extremes on that whereas Alex Kidd is a real person.”

Contrite and able to change, Kidd focuses on entertaining and connecting with his audience. “I’m not trying to drive a brand, or build something and sell hair, vitamins, or whatever,” he says.

And that audience loves him for it. He funds his DDB efforts largely through his Patreon, which has more than 500 members contributing monthly to the site.

In an industry where beer reviews only appear fawning or laudatory in their language, Kidd also made a name for himself with his willingness to critically roast any beer, even the world’s highest rated ones.

“I think too many beer critics online always feel a sense of conflict, that if they say something bad, then they’ll be shunned,” says Doug Veliky, chief marketing officer at Revolution Brewing. “And that might be true. But I think Alex saw the long term. You could always tell that it was never about that with him. He never cared about whether a beer was free or not. And he never cared what people thought. And by rising above all the noise of beer reviews and being the person who people know are going to give it to you real, he distanced himself so far from everyone else that no brewery can ignore him now. And now he has the freedom to say something negative about a beer. And that’s not going to stop them from wanting his opinion.”

Veliky has sent Kidd beer to review, even knowing he might write something negative. He respects Kidd for his independence. “You’ve got to put the customer first, the follower first, not the breweries,” he says. “That’s how you become more powerful. And that’s what he did. He became the most powerful beer reviewer by many multiples.”

His dedication to learning brewing process details helps him understand flavors and gives him the ability to speak to both a consumer and industry audience. “Alex has tasted and reviewed so many beers that his opinions are immensely valuable to professional brewers,” New Belgium’s McKnight says. “He has helped give honest feedback to brewers and make them grow and produce better beer. Not everybody’s opinion matters to us brewers so when Alex weighs in, we really listen.”

It’s all part of Kidd’s obsession with understanding how people perceive quality in things such as art, music, movies, or beer. “When you look at these things that are lauded as best, either on beer lists, or books, or AFI, you want to find the strain of things of what makes them good or high quality,” he says. “It really keys you into this idea of what we collectively value. What things are worthy of being valued? I think that the art of commentary takes on its own art form that is reflective of the culture.”

Kidd also believes you can learn much more from bad beers and figuring out where they went wrong. He compares it to his practice of only watching movies in either the top or bottom 5-percent of Rotten Tomatoes scores. He wants to see what makes something great or terrible.

“You’re deconstructing the process, asking, ‘Okay, what did this really start as?’ You’re trying to figure out what is the shortcoming? Then you broaden out and ask, ‘Who drinks this and why is this acceptable to those people?’” He lives for bad beers as it energizes his mind. “If something draws your attention for the wrong reasons, you’re left with questions.”

Kidd thinks DDB has hit its ceiling in terms of audience and he’s fine with that. “I don’t think DDB can get much bigger,” he says. “I think it’s at its perfect saturation point for the industry interaction.” He loves that his audience has to work hard to understand his references and humor.

“I write jokes for 17 people,” he laughs. “But for those 17 people that get the joke, it hits hard. I think that’s a good way of approaching it, because those people won’t forget.”

He contemplates what it would take to grow DDB and appeal to a broader audience but ultimately rejects the idea. “I could pivot and make that but those 17 people who got the jokes would be like, ‘What is this?’ That’s not the relationship that I have fostered over a decade.”

Alex Kidd Unmasked

It all happened very quickly, Kidd recalls.

In 2018, he hit a creative wall with what he could achieve anonymously. He couldn’t use his voice or face in videos or do live comedy shows about beer if he wanted to remain in the shadows. The BiL Facebook group, which he started in 2017, was taking off and he wanted to try out live shows and start a podcast. But he still had concerns about mixing his professional work as an attorney in a conservative industry with his edgier beer comedy persona. “Initially I didn’t want to co-mingle Don’t Drink Beer with my legal career because I thought that those two intermixing could have some consequences,” he says. 

But the situation was untenable. So he made a decision.

“I was like, ‘I gotta fix this, I gotta take the plunge,’” he says. “And come what may, I’m just gonna do it.”

He had already cleaned up his content, veering away from sexual and misogynistic material. “I learned how to write better, be decent and more sensitive, and not do cheap types of jokes,” he says. “I’m like, ‘You know what, I can stand by this product, this is good enough.’”

At first, Kidd felt vulnerable as he was accountable for his content in a way he previously hadn’t been. He quickly learned to love being in the open, even wished he had done so sooner. But he also realized he wasn’t ready at that time. “It cuts both ways,” he says. “I guess I wish I did it a couple years earlier. But did I need to wait until I got funny enough or responsible enough to make it worth it?”

Launched in June of 2018, the Malt Couture podcast shot DDB and Kidd’s profile into the beer stratosphere. Jokingly described as the “world’s jankiest beer podcast,” Kidd hosts the show along with longtime collaborators Loh and Gabriel. Each of the hosts represents a different sphere of the beer world, with Kidd occupying the nerdiest perch, Loh in the middle, and Gabriel just happy to drink Modelo. They joke with one another, run skits, interview brewers, make obscure jokes, and hang out each week drinking while the audience eavesdrops.

With more than 260 episodes, Malt Couture is one of the most popular drinks podcasts. Tens of thousands of fans download the show each week and Kidd says most listen nearly all the way through to the end, no easy feat for a show whose weekly episodes can run as long as two and a half hours each. 

Freeing himself from the constrictions of anonymity also allowed Kidd to expand DDB’s reach into live shows. Soon after he unmasked himself, Kidd received an inquiry from Revolution’s Doug Veliky asking if he’d be interested in doing a live show tied to a special barleywine release. Kidd agreed.

Revolution put 80 tickets on sale and sold out quickly. The brewery flew Kidd out to Chicago and he performed a 30 minute stand-up set about beer and beer culture. “That is really, really hard to do and he maybe rehearsed it once,” Veliky recalls. “It killed from start to finish, it was as polished an act as I’ve ever seen. And it was so damn funny.”

Kidd returned to Los Angeles energized by meshing his love of performance and beer. He and Loh devised a format for a longer comedy show, to be called Barleywine is Live. They performed a test show and then returned to run it at multiple locations in Chicago, including at Revolution. The show was a hit, selling out quickly.

“The fact that he brought me in to do Barleywine is Live changed what I thought was personally achievable through comedy,” Loh says. “Getting paid to do shows is nice but after that first [BiL] show, I felt like we were rock stars.”

Since stepping into the limelight, Kidd has established a balance between his professional work and his beer comedy. “I’ve actually had insurance adjusters find me and follow me,” he laughs. “They’re like, ‘Dude, this makes you one of the coolest attorneys. I like referring you work because you’re not just some drone.’ That’s amazing.”

The  Unwanted Stage

After decades of chasing stability, carefully plotting out his life plan and then successfully executing it, Kidd was finally where he wanted to be. He had a solid job as a lawyer that paid well and he was balancing out his successful legal career with comedy performances. His personal life was on track as well. He took Normandy to punk shows, they went hiking, and watched bad movies together.

As with many beer spouses, while Normandy is supportive of Alex’s beer side gig, it’s not her thing. “She barely tolerates beer, hates the boxes arriving,” Alex says. “She realizes it’s a passion of mine and generates a modest income but the idea of having a beer cellar or bottles around is trashy to her.” 

Normandy prefers very dry white wines, including Rhône and white Burgundy. But Normandy has also tasted many of the world’s best beers. “She’s been around this culture for so long, she’s had everything,” he remarks. She has also by osmosis absorbed a ton of useless beer knowledge. “One time I asked her what a gueuze is and she said, ‘It’s a blend of three different lambics.’ And I said, ‘How do you know that?’ It was insane.”

After Alex graduated from law school, Normandy attended and graduated law school and now handles wrongful death and catastrophic personal injury cases. The couple married in 2013 and settled into their professional and personal lives together. 

As with many couples, Kidd says they struggled with fertility issues and underwent rounds of in vitro fertilization (IVF) retrievals and shots. In 2021, they delivered a son, Soren, named after Kierkegaard, the Danish poet and philosopher—a nod to Kidd’s Berkeley philosophy degree, of course.

Two years later, after another round of IVF, Normandy was pregnant again and due in September of 2023 with their second child, a daughter. The couple decided to sell their house in Los Angeles and move closer to San Diego to allow Normandy to reduce her professional workload and spend more time with their growing family, while Alex continued to financially support the family. Everything they had worked so hard for was coming true. 

Then Alex’s stomach started hurting.

On Mother’s Day, in May 2023, the 39-year-old Kidd went to the hospital with stabbing abdominal pains. He was diagnosed with Stage 4 metastatic colon cancer that had spread to his liver and lungs. Surgeons removed the portion of his colon affected by the cancer. 

His sudden health issues brought immediate financial hardships, the kind Kidd had worried about his whole life. He faced an uncertain and growing level of medical expenses while unable to work, while his wife was getting ready to give birth and become the primary caretaker of them all. 

After his surgery, Kidd posted the news to social media and it quickly spread through the beer community, shocking both friends and mere acquaintances alike. Social media lit up with well wishes from across the globe.

Before he did so, he let his friends know the news, including Malt Couture co-hosts Loh and Gabriel. Loh contacted Doug Veliky, with whom he’d developed a friendship, to tell him before Kidd posted the update.  

“I was driving to work,” Veliky recalls. “Steven was kind enough to send a very long, detailed, and devastating text message that I made the mistake of reading at a long traffic light. My phone buzzed, I saw the big preview, and had to pull over right where I was. I think I sat there for at least 20 minutes, cried and just had to like, gather myself before I even felt comfortable driving again because I was so upset.”

Many in the beer world experienced similar shock. 

“It was a gut punch, which I guess is weird because I’ve never met him before,” says Em Sauter, creator of Pints & Panels and co-host of the All About Beer podcast. “You never realize who has a profound effect on you until something happens. I think many people felt this way. As someone who lost their father to cancer when they were a kid, I mainly thought about his family and what they must be going through.”

Immediately, brewers, friends, and DDB fans responded with outpourings of sympathy and calls to action. A DDB fan quickly set up a GoFundMe and tens of thousands of dollars in donations rolled in to help benefit the family. By the time it closed, the campaign had raised $404,888 for the Kidd family.

The news also caused a lot of people to contemplate their own health situations and to seek testing. Drew Pool was shocked. He and Kidd were the same age and both had young kids. He scheduled a colonoscopy after hearing the news. “I thank him for being brave and upfront about it,” Pool says. “He could have chosen to hide and keep it private.”

Pool and others also wanted to assist Kidd through their own efforts, namely with a collaboration beer. He started the Life International Barleywine Collaboration, where dozens of breweries brewed a barleywine and donated profits to Kidd and his family. “It was our way of raising awareness of what Alex is going through but also for getting screened and taking symptoms seriously and talking to your doctor about colon cancer,” he says.

Loh says he was overwhelmed at the response to Kidd’s cancer news, but wasn’t surprised. “Seeing the beer community come out after his diagnosis, it’s the thing we’ve always told him, that we think you’re beloved in the community,” he says.

After recovering from the initial surgery and through his cancer treatments, Kidd remained desperate to release podcast episodes and keep DDB on track. He acknowledges that his plans for DDB, including more live shows, remain in a holding pattern, but he remains driven and determined to continue his work.

How Alex Kidd Changed Beer

Following the news, many in and around the beer industry contemplated and reflected on Kidd’s impact on it. Some noted his influence on the rise of beer nerd culture and whale hunting, while others said he just made things more fun. 

“Alex has had an enormous impact on the craft beer scene,” New Belgium’s McKnight says. “Don’t Drink Beers and the Malt Couture podcast team have been able to capture craft beer’s purpose. He uses his satire to relay that while beer is culturally relevant, the side attitudes, exclusivity, and ego aren’t even what beer is about.”

Beer cartoonist and podcaster Sauter says, “I once called Alex our generation’s Michael Jackson,” referencing the famed beer writer. “I still stand by that. I can’t name another person in or out of the industry that has created calls to action like Barleywine is Life and beer styles like pastry stouts.”

That latter term is among many additions to the craft beer language that Kidd has made. 

“When everyone started tossing desserts and sweet adjuncts into stouts, Alex coined the term pastry stout,” recalls BiL’s Simond. “It wasn’t initially meant to be a positive description, but it took off and was immediately embraced by breweries and added to labels. Witnessing the real-world impact of that silliness as it played out was pretty funny.”

The joke landed hardest when the phrase ended up in a headline in the Chicago Tribune. Kidd jokes that his wife probably wishes he could figure out how to monetize others’ use of the phrase.

Brewers also note that Kidd has influenced not just how but what they brew. 

“I can say for sure that we wouldn’t make this much [barleywine] if he wasn’t one of the champions of the style,” Pool says. “I think Barleywine is Life became its own thing. Any time we post about the beer, the first comments are #barleywineislife. It was an obscure style that maybe your dad drank. But now it’s a mark of pride when someone wins a medal for one. I think his name has become synonymous with barleywine.”

Veliky agrees. He notes that before Kidd promoted the barleywine style, Revolution’s staff was torn about how often to produce its well-regarded Straight Jacket series. They worried the brewery couldn’t sell very much and considered moving production to once every few years. Now, Revolution releases four different barrel-aged beers in cans and bases hugely popular special events around them. “And it’s 100-percent due to him,” Veliky says.

For his part, Kidd downplays his importance to brewers, drawing a connection to the movie Fantasia. He told a beer podcast that people view him as the Sorcerer’s Apprentice for barleywine, where he directs breweries to create more barleywine and every time he cuts one down, three more appear. He insists that’s not the case and his impact is limited. As many note, however, the style was largely moribund before he started promoting it.

Others see Kidd’s work as having a financial impact beyond barleywine sales. 

“Because his reviews were so perceptive, it built a trust within the beer community at large,” says Simond. “So, when he gave a beer a glowing review, no matter how small or obscure the brewery, there’d be a run for it. I have no doubt that breweries have had a perceptible financial impact from his positive reviews.”

Beyond beer, Kidd is most proud of staking out distinct positions in favor of political and cultural issues, especially related to the treatment of people of color and under-represented communities. At first he was hesitant to enter the fray but that changed during the pandemic and in response to police shootings of Black Americans. 

He has since successfully turned DDB into a social justice platform, mobilizing his audience in support of good causes. In March 2020, when police officers shot and killed Breonna Taylor, a 26-year-old Black woman, in her Louisville, Kentucky, apartment, Kidd publicly decried the killing on his social media pages. He also hosted a fundraiser for her family, helping raise $67,000 by coordinating rare beers for auction.

Kidd hears words of support from brewers who support his views but also fear potential financial repercussions for going public. He understands their concerns and is happy to work with them behind the scenes to support his campaigns. “In a way, it became like a safe space for brewers that wanted to say something but didn’t want to take the heat from their own fan base,” he says. “They could launder that position through me and nobody’s gonna stop buying their beer.”

He also appreciates that the financial security afforded by his legal job allows him the freedom to take controversial public positions. “The worst thing that can happen to me is I go back to being a lawyer,” he says. He also loses followers any time he posts something political, but he doesn’t care. 

“I’m content to lose those people, that’s fine.” 

Kidd has also coordinated charity efforts in support of the service that provides him psychological counseling for his cancer diagnosis. In a come full circle moment, Kidd raffled off a Soleil De Minuit, the Cantillon beer he once paid $1,800 to secure, to raise money for counseling for others.

“I had bought it for a show and was going to apportion it into very tiny juice boxes for the audience,” Kidd says. When he started receiving rare bottles for the auction, he decided to sell them. The auction raised $10,000. “I don’t get my little attention seeking stunt, but other people get counseling and the world’s a better place I guess.”

Brewers also appreciate Kidd’s smaller efforts towards promoting inclusivity in the beer industry, even in the form of a simple beer review. “I really appreciate that Alex took the time to try Biere de Queer, which is a 7.4-percent Mai Tai inspired beer that is dear to my heart,” McKnight says. “I originally made it for National Coming Out Day to give queer people visibility beyond PRIDE month in June. Alex took the time to try it and give space for those who it also resonates with. Small gestures like that are what make marginalized people feel included in the beer world. I’m so thankful for his support.”

Veliky, like so many others, believes Kidd is a positive force for good in the beer industry. 

“You’re never going to totally win the war on self-awareness, but boy has he won a lot of battles in terms of basically calling out everything that needs to be called out, finding a way to not make it attacking,” he says. “He has everybody kind of looking in the mirror a little bit more.”

Legacy Is A Loaded Word

In the final minutes of our conversation, which has spanned almost six hours over multiple telephone calls, Kidd catches me tripping on my words in the final question. 

“It’s weird, I noticed you didn’t want to use the legacy word because it’s kind of too heavy for it and I think about that as well.”

Since we last spoke a few months ago, Kidd had transitioned to maintenance chemo, a cancer treatment that involves regularly administering drugs to keep his Stage 4 cancer under control. He was busy raising his son, who recently turned three, and his daughter Paloma, who was born in September of 2023. He was back to work full-time and trying to manage the chaos that is raising young children, while also managing cancer.

He spoke with his surgeon in mid-July and found out his lung tumors had grown 15 to 20-percent. The surgeon told him chemo would keep him at stasis but encouraged him to take a more aggressive tack: thoracoscopic lung surgery to remove the tumors.

“It’s funny, this would be the worst thing that happened to most people in their life,” he says. “But for me, this is nothing.” He says it’s easier than his liver and colon surgeries and other procedures and treatments to date. And after he recovers from the surgery, they have to operate on his other lung and do it all over again. “I’m like, ‘Whatever, let’s do it.” The first surgery is scheduled for early August.

It’s a trope that a cancer diagnosis clarifies things and gives perspective. Kidd appreciates this and is in the inevitable place of reflecting on his relatively short life, taking stock, and questioning his decisions. “You never know the ‘correct way to conduct your life,’” he says. “You can’t help but start thinking about your different path than the one that you’re on. There are the opportunity costs to any given thing. I spent so much of my life going to law school, setting up all these things, getting a house, moving to San Diego, fighting to get my kids. And once I’m all set up, it’s like, boom. No matter what I did, I was gonna get hit with this Stage 4 cancer.”

“I think one of the toxic aspects of that cancer frustration is you end up resenting other people’s lives when they’re easier,” he observes. “And that obviously doesn’t help anything but it’s also liberating and freeing in a weird way. It’s so absolving, because I used to beat myself up, ‘Why didn’t I go all in on comedy? Maybe I could have made it that way.’ It’s something that rolls around in my brain.”

While Kidd sometimes laments not traveling more, or opening his own law firm, he knows these are just passing thoughts inevitable to his current situation. 

“Ultimately, if you’re fighting this boss cancer, out of nowhere, all that stuff does not matter at all,” he says. “Because ultimately, I would end up in the exact same place. So, it’s frustrating on one end, but you also realize, because you get so colossally fucked over, that none of this matters. All these things that I thought were such a big deal, ultimately are not that important at all.”

One thing he knows for sure is he wishes he knew that his grandfather had died from colon cancer at age 57. Had he known, he could’ve pushed for an earlier colonoscopy.

Kidd has long appreciated that nothing is given, that he must continue to grind, and not sit around to see what happens. That was his response to the beer industry’s support for him. 

“It truly was like, ‘Well, now I can’t quit,’” he says. “If I ever had this idea that I could just diagnose and dip out, I can’t. There are too many people that care enough to donate.”

He looks through the thousands of donor names on his GoFundMe and recognizes many of them. “I know that guy, he doesn’t have any money because he’s a keg washer in Ohio. And he’s donating fifty bucks. It’s one of those things where I mean this much to people who are just getting by. I can’t just skate out.”

Kidd is also using his platform to encourage people to get regular cancer screenings, even if it means lying to their doctors to combat insurance company practices. “It’s not ideal and kind of fucked up but these are important things.” He tries to be open and honest with his audience about his symptoms and the need for proactive testing, especially for people that drink a lot of beer and don’t have the best diets.

Despite its importance, he still worries about talking to his audience too much about cancer. 

“The one thing I don’t want is to go this route of performative oversharing, which is big in the LA comedy scene,” he says. “There’s no jokes. It’s just literally trauma dumping. I don’t want DDB to be that. But I do want people to get checked and be aware. We want to get you healthy, and then still make funny stuff along the way.”

Kidd can no longer drink alcohol so he’s recently transitioned to reviewing non-alcoholic beers. He’s thankful that his cancer diagnosis corresponds with the great renaissance in alcohol-free beer and that his audience has stayed with him with the switch to NA-focused content. 

Experiencing a whole different side of beer has been eye-opening, allowing him to plunge into new areas. He also appreciates the irony of transitioning from the world’s rarest beers to those anyone can have sent directly to their house.

“I buttered my bread with inaccessibility and gatekeeping rare beer,” he laughs. “Because you can get NA beer shipped to 42 states, everyone gets to weigh in and earnestly say, ‘DDB, you’re wrong, this one is good.’”

Never a Wasted Day

Paloma Kidd is now nine months old, with an expressive, spitfire personality, according to her dad. 

And with no encouragement from Kidd, his son Soren loves doing goofy characters, performing, and trying to make people laugh. He and his wife have tried to be honest with him about his dad’s cancer, especially when Kidd is tired or connected to a medicine pump, but they try to blunt the impact on him.

“We don’t like to oversell it to him,” Kidd notes. “I think that’s one of the most important things is just having him not affected like that.”

Kidd continues to try and find a life balance and still regularly produces content.

“I don’t think I’m a life changing force for a lot of people,” he reflects. “But I think that there are people whose lives are a little bit better, having read maybe some of the jokes or seeing the things along the way that I enjoyed making. I just hope that people were like, ‘That was cool. We got some good laughs for a decade.’ I’d like to think I added a degree of reflection to it that is also fun and worthwhile.”

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The post From Fresno to Famous: Alex Kidd Brings Life To Beer first appeared on All About Beer.

John Holl: Tell me about the brewery and how it came to be.

Matt Smith: The way it started is not really a typical path to starting a brewery. And actually in fact, I don’t have a physical location for a tap room that people can come visit. There’s a shed behind my house here in Beverly that is a fully licensed brewery. I have a state permit for the shed, as well as a Federal permit and an FDA registration. So technically, and legally, I can brew beer out of that shed and sell it directly to people. But they can’t drink here because they would literally be drinking at my house on my property.

So really, it’s just a formality for me to be able to take my recipes that I’ve accumulated for many years now and just produce them at other breweries in the area. Then I can self-distribute all that beer to local stores, bars, events and things like that.

The brewery has actually been a grief project for me. We lost our first daughter Melody in 2017. My wife was full term in her pregnancy, almost 36 weeks pregnant, and we found out that Melody’s heart stopped beating.

Our worlds were shattered. We had just moved into a new house, which is the house that we still live in. She was our first child, and my wife could have lost her life.  I had a stable job with another brewery. She had a stable job as a teacher. Everything’s going great. And then all of a sudden, everything just falls apart.

I had to leave my job with Clown Shoes Beer which, ironically, operated the same way I currently do; they didn’t have a physical location. I learned the business that way. If you’re making the beer somewhere else, and you’re relying mainly on wholesale, it’s a little different than having a place where you can invite people in and they can drink your beer there.

Basically, I entered the worst time of my life and the way that I grounded myself was to apply for the paperwork to start a brewing project which ended up being called Wandering Soul.

I wanted to release a beer in honor of Melody as a way to have a legacy for her. I was always afraid that her name would just get lost. And no one would ever remember, aside from us.

I didn’t think that I would get approved for the state and federal permits. I thought it was kind of a long shot.But it was approved at the end of 2018.

So I reached out to my friends at Castle Island Brewing in Norwood. I’m good friends with the owner, Adam. And I’ve become good friends with all of them. And I reached out on a whim saying like, ‘Hey, I got this permit, can we brew a batch of this beer that I want to call Melody Maker’?

It was a recipe I was working on prior to Melody’s death for a New England style IPA that’s 4.9% ABV. This recipe, I tweaked and tweaked and tweaked for years and did like 20 versions of it. And I finally reached a point where I was comfortable producing on a larger scale. I designed the whole label. And I donate some of the profits to a charity that helped me and my wife called Resolve New England.

The beer is brewed with two 2 row, Vienna malt and flaked oats, and I use Citra, Mosaic and Motueka hops. It’s fermented with a version of London Ale III.

Castle Island helped me make the beer and it sold out, and we made another batch and that sold out and it just became a business that was never supposed to be. But it did and it’s been amazing.

It’s the thing I’m probably most proud of in my whole life. And it’s been hard. I mean, this industry is not an easy one to operate in, especially when you’re tying your business and your brand to a story that’s so personal and not necessarily bright and cheery.

I’ve always designed it as a symbol of hope, because every beer is dedicated to a person or a concept, but there’s dark elements to it.

People can go through these things in life that can be labeled as sad, tragic, transformative, whatever the word is. And to produce something out of it, I think is very important for other people who are grieving and suffering to find some sort of creative outlet or something that they can use as a mode to get through the grief process. If I didn’t have this, I don’t know what I would have done.

John Holl: Have you been able to connect with folks through this? You’re talking about being hopeful, has that been able to forge a deeper connection with people you’re interacting with through this beer?

Matt Smith: The community around it is pretty amazing. I heard from a lot of people through Resolve New England. We’ve since gone on to have two other living children, they’re three and five years old now. The beer sort of opened up this conversation with all these people that were willing to share these things with me, that are so deeply personal,things like life and death situations. It was just so incredible, that people were willing to trust me. Because I think they saw that I was willing to take the step of talking about this in a very public way.

Especially for dads that go through this kind of thing, there’s really very little support. I think that for women that literally shoulder the load of losing a child during pregnancy, it obviously takes a much different toll on women. But also, women are a little bit better at talking about these things and finding community.

For men, it’s really hard, because I think men are supposed to be the stoic ones who just try to power through and not necessarily talk about it. That wasn’t an option for me. I knew that I had to talk about it.

John Holl: If other brewers go through extraordinarily terrible circumstances, like you did is there a path for them for this? Can projects like this have a larger place in beer?

Matt Smith: I was a little bit hesitant in the beginning about putting this out. Because I do know, a lot of other brewers. I had been in the beer world for a pretty long time before this and met a lot of people that way.

I was a little worried about what people within the industry were going to think. I was always very cautious of not trying to seem like I was trying to exploit some sad story to sell beer. This was a  very personal thing that I felt like I needed to do for my healing.

It did really have an impact. I’ve met so many other brewers through this and I’ve done at least 20 collaborations at this point with people, some who have become some of my best friends.

I want to help people at the end of the day, I want this story to have an impact not just for me, but for other people that might feel lonely or isolated or deep within grief.

Everybody’s going to be up against this at some point in their life. And it’s one of the hardest things I think to get through. Because in the end we are all in this together. It’s a human experience. And the only way to get through some of these really tough things in life, is to lean on people around you, or just find people that have gone through things similar to what you’re going through.

Maybe you come out on the other end a little different, and maybe a little damaged and scarred from the experience, but you’re still here. And you carry this stuff with you.

I carry the memory of my daughter every day. I wish she was here every day. But in a way she’s kind of been my copilot.

Pull Up a Stool is a regular feature on All About Beer. Reach out to editor John Holl at JohnHoll@allaboutbeer.com with suggestions on brewing professionals that should be featured. And to support our journalism, please visit and donate via Patreon.com/AllAboutBeer

The post Brewing Through Grief: The Story of Wandering Soul Beer first appeared on All About Beer.

It aims to help brewers support sustainable and environmentally-friendly suppliers and producers and foster lasting partnerships between breweries and environmental non profits.

Eric Steen, the creative force behind Beers Made by Walking, created Earth to Beer. He runs a marketing company called Forest Green, where he works with beer industry clients and environmental organizations. Steen spoke with All About Beer editor John Holl about Earth to Beer.

The Conversation

John Holl: What have you seen as the relationship, or the evolution of the relationship between beer breweries and environmental causes?

Eric Steen: I think a lot of breweries, a lot of brewers, and people who make beer, people who make beverages in general care about where their ingredients are coming from. And so as more and more breweries start their businesses and keep going, they care about community causes, and they care about what’s going around what’s going on around their brewery.

I’m based out of the Pacific Northwest, and around here I see more and more breweries that are sourcing locally, or who have sourcing processes that sort of intentionally bring on special certifications like organic or salmon safe. Or they are talking a lot more about regenerative agriculture. I think that’s happening across the country.

John Holl: With that in mind, then talk to me about where the idea came for this, this new initiative that you’re putting together?

Eric Steen: I have been organizing beer industry campaigns for about 10 years now and it started with Beers Made by Walking. That’s where I invite brewers on nature hikes and urban walks. And then they make beer with plants that we find on the trails. I worked with a couple hundred breweries on that campaign over the years and we have beer festivals and things like that.

It really introduced me to environmental conservation work. And it also eventually landed me real job in the beer industry, where I got to work with a brewer. I’ll try to make a longer story short, but I’ve been working on campaigns similar to that.

There’s one called “Cheers to the Land” based in Oregon, where, 20 or so breweries make beer with all Oregon ingredients, or at least to highlight Oregon farmers in the beer that they’re making.  The proceeds go back to the Oregon agricultural trust who works to permanently protect farmland in the state. I’ve been organizing that now for three years. And I just began to get a sense that this needs to be a national thing. There needs to be a national campaign.

Earth Day makes a lot of sense to me. And so that’s how I decided to make Earth to Beer happen. And so, Earth to Beer is campaign where breweries are challenged to make a beer in package that has intentionally sourced ingredients that are environmentally responsible, that’s upstream from the brewery and then donate back a percentage of the proceeds to an environmental organization.

John Holl: What’s the response been so far?

Eric Steen: We have 35 breweries signed up. And I think that’s in 23 or 24 different states across the country. For the initial year that’s really awesome. My goal is to eventually get every brewery to make a beer that has responsibly sourced ingredients, at least once in the year. Not every brewery thinks about these things, but there are lots of breweries who do think about it.

John Holl: What’s your what’s your call to action? For the brewers that are just learning about this? What should they do if they want to get on board for next year and beyond?

Eric Steen:  The simplest thing to do is just go to EarthToBeer.com  and get in touch with me and our team. We definitely want to build off of the momentum that we’ve gotten from this year.

In the future I think we’ll see some really cool opportunities for brewers in terms of sponsorship opportunities, and preferred vendors, and incentives along getting cost of goods price down.

Pull Up a Stool is a regular feature on All About Beer. Reach out to editor John Holl at JohnHoll@allaboutbeer.com with suggestions on brewing professionals, industry leaders, or curious drinkers that should be featured. And to support our journalism, please visit and donate via Patreon.com/AllAboutBeer

The post Earth to Beer: Making a Global Impact first appeared on All About Beer.

Homebrewers continue to inspire the larger beer community. Through the hard and small batch work, they showcase the grit and attention to detail that helped build the American beer industry to where it is today.

As part of winning the best in show, Schanz agreed to answer some questions from All About Beer Editor John Holl. His recipe for the award-winning Weizenbock is below the interview.

The Conversation

John Holl: How Long Have you been homebrewing?

Fritz Schanz:  I’ve been homebrewing since 2018, and I started for the typical reasons. I was frustrated by the limited availability, the lack of variety, and the lack of freshness in beers, especially the imports from Europe and the United Kingdom.

I got involved in homebrewing one day while shopping for beer. I overhead a couple of people talking about the local beer club; we struck up a conversation, and they invited me to their meeting that very afternoon! Talk about serendipity.

The very next weekend, club members were at my home, and helped me with an extract kit. That was five years ago. I moved on to all-grain, and I have been brewing regularly ever since.  I’d like to say that the beer culture scene in our town is rather small, but between our club, our local brewery/pub, and two local stores, it is a really tight-knit and supportive community.

Over time, like all homebrewers, I’ve gone through some equipment upgrades. I am brewing on an electric/gas RIMS, and I’m comfortable with it.

John Holl: What prompted you enter this particular competition?

Fritz Schanz: This festival has been on my radar for a few years. It is one of the oldest and finest in the nation, and it receives unbelievable support from breweries, civic groups, and homebrewers. I really like the focus of the competition on big beers and Belgians (which are the hardest styles to master), the judging is superb, and the competition and festival are well managed and supported.

The whole emphasis on the breweries, activities, and homebrewers is not only a fun social and educational experience, but it really brings the community together. There has been some talk nationwide about the “decoupling” of homebrewers and breweries, but this festival counteracts that; it brings the professional brewers, homebrewers, and beer afficionados closer together.

John Holl: What do you like about homebrewing?

Fritz Schanz: I love the freedom that homebrewing allows: I can brew any beer style that I desire, I can explore any variation within that style, and I can enjoy a beer fresh, or I can enjoy a beer that has been properly kept and aged.

I love the science and art behind brewing, both go hand in hand, and one can spend a life-time pursuing either.

Last, I love the connection that homebrewing has with places. It’s pretty hard not to pick up a magazine that has an article, say, on a beer vacation in Czechoslovakia and not fall in love with beers in their native places and cultures.

John Holl: Tell us about your Weizenbock, which won Best of Show?

Fritz Schanz: Of all the high-gravity beers, I think that the Dark Weizenbock is the most difficult to brew well. That has been my experience. The reason for this is that the beer must achieve a broader range of balances than other high-gravity beers. I find the beer more complicated.

In the past, my versions have been either too light or too heavy, too sweet or too dry, or too alcoholic, or too much clove or banana, or not enough malt differentiation or, especially, too much caramel. Over about six attempts at this beer, it slowly improved, and I think this current beer strikes a nice  balance: there is the bready background, but it soon gives way to a range of caramel, dark-fruit, chocolate malts.

I think the alcohols bring lightness and an additional fruitiness to the beer, and then there is the backdrop of clove and banana. I like the way the initial sweetness eventually gives way to a pleasant dry finish, and I like the mouthfeel. There is so much going on in this style of beer; it is amazing when homebrewers pull off a nice example.

So, in considering this style, three main issues surface:  grist formulation, mashing regimen, and yeast management. From a grist standpoint, the difficulty in brewing this beer is getting the right malt complex, and this has been the area that I have struggled with the most. Because I don’t do decoctions, I’m having to rely on the grist to achieve the desired melanoidin-dark fruit-chocolate character without overwhelming the bready backbone and the mouthfeel. I now keep the caramel malts less than 6 percent of total grist, and the chocolate malt less than 3 percent. Also, I’ve found that this beer expresses itself best at an OG of about 1079 to 1082 OG and a FG of about 1018 to 1021 FG.

Regarding the mash regimen, well it is complicated, comprising five steps. You want to increase the amount of ferulic acid to enhance the clove flavor. So, I do a ferulic acid rest for 15 minutes at 113F. Then, you want to break down some of the smaller proteins to release more amino acids and peptides into the mash for yeast nutrition. So, I do a protein rest for 15 minutes at 127F. You also want to achieve good attenuation in your final beer, so I increase the mash to 145F and keep it there for 45 minutes. Finally, you want to break down further any heavier dextrins that remain.

So, I mash at 162F for an alpha-amylase rest, and I’ll typically do this for 30 minutes. Then I raise the temperature to 172F for 10 minutes.

The hop character isn’t too important in this style, so I use just enough high-alpha hops to give about 23 IBUs, and the hops go in with 60 min left in the boil. I boil for 90 min.

Regarding yeast, I use White Labs 300, and I target a pitch rate of 0.85 million cells/ml/degree Plato, which results in a cell density of 17.24 million cells/ml, or about 326.32 billion cells. I’ve gone with higher pitch rates, but I didn’t get the banana profile I was hoping, and I’ve gone with lower pitch rates, and yeast had a difficult time finishing.

I pitch at 64F, and maintain that temperature for 24 hours, after which I allow the temperature to free rise to 70 – 72F. When fermentation is complete, I cold crash to 32F for three days, and I re-yeast, add corn sugar, and bottle, aiming for a carbonation level of 3.2 vols of CO2.

Pull Up a Stool is a regular feature on All About Beer. Reach out to editor John Holl at JohnHoll@allaboutbeer.com with suggestions on brewing professionals that should be featured. And to support our journalism, please visit and donate via Patreon.com/AllAboutBeer

Editor’s note: John Holl serves on the board of the Big Beers, Belgians, and Barleywine Festival.

Weizenbock Recipe

Vitals

Grain Bill

Water Chemistry

Mash pH 5.5

The post An Award Winning Weizenbock first appeared on All About Beer.

The Updated Rules

A good while has passed since the last time that I came down from the beery pulpit, carrying several tablets of aspirin which enabled me to hold forth in my own inimitable fashion. In the interim, we have experienced a pandemic which has caused a shift in people’s patronage of bars, brewpubs, and other such gathering places. This deca-revisitation will allow the reader to consider ten (10) contemporary ideas to put in motion when visiting their favorite watering hole. 

1. Thou shalt continue to give thy custom to thy local establishments! 

This one is tough for me to write since I have become a bit of a recluse since the COVID-19 outbreak. I used to frequent numerous local places for “Trivia Night,” but since I discovered a challenging online trivia site, that impetus has been nullified. I go to the places that I really cannot live without and when I travel, I am happy to go out and explore. It is at home that I am less inspired to go out. Don’t let my ennui happen to you! 

2. Thou shalt not participate in “Dry January”! 

Going along with #1, if your local is on the ropes, how do you think that your participation in a non-alcoholic endeavor is going to help? If you need a month to dry out, then maybe you should take a good, long, hard look in the mirror.  

3. Thou shalt not turn up thy nose at Mliko pours! 

The mliko, or milk, pour originated in the Czech Republic and is served as simply a glass of foam. This has led to derision and ridicule from and by the uninitiated, but it is a case of “Don’t knock it until you’ve tried it.” Once you’ve tried it, you may knock it all that you want, but chances are that you won’t be so inclined. It is not a widespread phenomenon here in the U.S., so give it a chance if and when you can. 

4. Thou shalt not practice snobbery when it comes to smoked beers! 

This dovetails with #3 in the “Don’t Knock It Until You’ve Tried It Department.” I am also openly copping to pandering to my editor and his “This Week In Rauchbier.” I will readily admit that smoked beer can be an acquired taste, but to dismiss one or all of them without having tried an example of the style first is a disservice, both to yourself and the style. The best way to drink them is with a combination smoked meat and cheese plate! 

Yes, Virginia, they all exist.  

5. Thou shalt grab a sixer, four-pack or a Crowler of thy local’s beer to take home!

I have already copped to not wanting to go out like I used to, but that is not a valid reason for totally gaffing off my local(s). Visit your local brewery or package store, buy some cans or a crowler, and enjoy a quality pint in the confines of your own home. Not only is the flavor great, but you’re still helping out small business. 

6. Thou shalt leave a space when at the bar! 

Lots of people, including/especially me, are skittish about sitting right next to someone not of their household in these post-COVID times. If there is space available to leave a seat between you and someone else, leave it open. For guys, here is a relatable example – we hit the head at the same time and there are an odd number of urinals, all available at the time of arrival. Are you going to take the middle one? If so, I guess that you will also be striking up a conversation mid-stream. If not, then you get the idea.

For those who may counter that this could create a sticky wicket for late-arriving couples who may want to sit together, I would retort that you should have planned better and asking a singleton to move just to accommodate you is out of bounds and smacks of privilege. Let’s put the shoe on the other foot. I arrive late, by myself, but I want to be right in front of the TV to watch the game and that is where you, as a couple, are already sitting. 

Are you going to be willing to accommodate me if I ask you to move, even if just one seat over? Hmm.  

7. Thou shalt stay at home if thou art sick! 

Going back to the previous commandment, no amount of space is going to be sufficient if you are truly unwell. I have no idea if: a) you are vaccinated; b) my vaccinations will be enough against whatever you are carrying and possibly spreading; and c) whether a mask will be enough. If you insist on staying, then I will insist on abruptly leaving.  

8. Thou shalt keep a civil tongue!

In a previous iteration, I made the same statement, but in this case, I want to be a bit more specific. You should not be openly disparaging breweries or their beers, especially in their establishment, and definitely not while at the bar. The industry is in decline right now with closings occurring all the time. I am not telling you to be a cheerleader or to not vent online, but negativity has no place at the bar.  

9. Thou shalt maintain control over thine children and/or pets! 

I understand that people want to have “Family Nights” and/or bring their non-service animal pets, but there is too much potential for chaos. I have never felt that any establishment that focuses on alcohol production and/or sales is an appropriate venue for a child. I speak from personal experience since my maternal uncle took me to a bar when I was 5 or 6-years-old and I felt really out of place! 

Most places require that you be of drinking age to sit at the bar, but there are no such restrictions on the rest of the establishment’s space. If you choose to bring children and/or animals, you need to keep them in check!  

10. Thou shalt provide feedback and/or pushback!

I received a lot of responses from the initial iteration of this list and I expect nothing less from this one. I am not one to shy away from controversy nor do I wither under scrutiny. One must have a thick skin to be an opinionated writer and while I am not an armadillo, I can take the slings and arrows. I would really like for these to be less commandments as food for thought and to possibly generate reasoned conversations around them. 

See you at the bar!  

The post Ten Commandments for Drinking at the Bar (2024 Update) first appeared on All About Beer.

A notable exception is Bottle Conditioned, a film that released last year that takes a deep and loving look at lambic and some of the revered blenders who have created flavorful, intriguing, and sought-after bottles.

While previously available to watch at select screenings, the film recently launched on Apple TV and on Amazon.

What makes this film stand out among the others? All About Beer editor John Holl asked Jerry Franck, the director, producer, writer, and editor of the film, about the subject matter and what when into making the film.

Franck is an American/Luxembourgish director and producer whose work in both the documentary and fiction space often depicts niche topics that serve as a microcosm for the world at large. Bottle Conditioned is his feature directorial debut.

John Holl: Where did the idea for this film come from? 

Jerry Franck: Back in 2017, after our last documentary’s release, I was getting more into craft beer as an aficionado and collector rather than just staying an average drinker. Because of my filmmaking background, I was naturally seeking out documentaries about beer, wine and anything that had to do with a craft culture behind it.

As I watched through every TV episode, film and Youtube video that I could find, I felt unfulfilled by what I saw. I personally felt that most films about beer barely scratched the surface and appeared to be more fan-based content or corporate sponsored videos. I was craving something deeper, more cinematic and intimate.

At first I wasn’t sure what our film was going to be about because beer is such a vast topic, so I turned my attention towards Europe in the hopes of finding an origin story perhaps. It took another year or so to let these initial ideas mature, and a few trips to Belgium before I found myself lost in lambic land for 4+ years.

John Holl: What surprised you from the interviews and experience? Was there something uncovered that resonated with you on a deeper level. 

Jerry Franck: Initially I wanted to make a film about the different seasons of lambic production, from brewing to blending, to fruit harvest and everything in between. A bit like wine production. So when we filmed during the brewing season in 2019 and shot our first interviews, we cast a wide net of people and topics. Once we came back form the trip and I started digging through the many hours of footage, I realized that I was only catching glimpses of things, and it overall felt very technical. I got the sense that some of our interviewees were ready to open up further to us.

There were more personal stories, past hardships and opinions bubbling underneath the surface than I had anticipated. When we went back to Belgium that summer, we made a point to get more personal and dive deeper. This opened doors about topics and to people I wasn’t thinking of at first. Some of those people were Jean-Pierre Van Roy and Claude Cantillon, who single handedly saved lambic in Brussels during the hard times, but it came with a lot of personal sacrifices reflected in their heirs now.

 Our project slowly started to evolve from a basic beer film to an intimate portrait of people, talking about universally relatable issues.  

John Holl: The film has been out for a while now, and about to hit a larger audience. What do you hope it inspires drinkers to think about?

Jerry Franck: With our fast paced world, the influx of content and daily distractions, it can be hard to stop and take a moment to reflect on the past. Lambic is a slow food, and it takes time to understand and appreciate it, but to me it’s also a window into a different time when things were maybe simpler. Trends come and go, and it’s inevitable to get wrapped up in them, but remembering where it all started is important in my opinion. I hope this film inspires people to seek out more original stories like it, and stay connected through film (and beer) on a more human level. 

Pull Up a Stool is a regular feature on All About Beer. Reach out to editor John Holl at JohnHoll@allaboutbeer.com with suggestions on brewing professionals that should be featured. And to support our journalism, please visit and donate via Patreon.com/AllAboutBeer

The post Pull Up a Stool with Jerry Franck of the Bottle Conditioned Film first appeared on All About Beer.

“I started learning more and more. And then I became a bartender on the side to learn more about brewing,” she says. ”Then I decided to switch career paths and I went to brewing school.”

At the start of the COVID-19 pandemic Klembara and her husband decided to make a change and moved to Iowa to pursue new brewing opportunities. A month after settling into their new home, her sister revealed that she had a genetic mutation that could lead to cancer. Klembara took a BRCA test and received a positive diagnosis that showed she had high risks for breast cancer, ovarian cancer, and pancreatic cancer. A later scan found a pre-cancerous tumor. Soon after, at the age of 27, she underwent a double mastectomy.

Post-surgery she transitioned from brewing work into beer marketing at Confluence Brewing. She was looking for a way to raise awareness and to support others battling breast cancer. The result is the Scars Are Beautiful campaign. She spoke with All About Beer editor John Holl.

John Holl: How did the beer come together?

Jess Klembara: We started here in Iowa, with Toppling Goliath and many other breweries. The following year we took it nationwide. About 300 breweries across the United States did this beer. I was invited to speak at the Craft Brewers Conference in 2023 and will do so again at the 2024 conference. The whole point is, your beautiful, your scars are beautiful. I have these very large scars. And I just want you to feel the same love that I should have felt earlier on in my journey. But that I eventually found.

John Holl: That brewers are getting on board is great. And the invitations to speak at CBC is very nice. What’s the what’s the overall reception been? From the public to drinkers to those this benefits.

Jess Klembara: It’s been amazing. I’ve had hundreds and hundreds of emails come in from survivors, providers, thrivers, anybody that’s going through cancer or know someone who is. They don’t know who I am, I don’t know who they are, but they share their journey. That’s something really special because for a lot of us in the cancer world it’s hard for us to be vulnerable and to speak about our journey.

So, to have these opportunities is amazing and I’m glad I could be there to support others and make them feel loved while they are going through the hardest time of their life.

The beer sells out quickly almost everywhere, and we hope to grow it more and more each year.

John Holl: Tell me about the beer. What’s the recipe?

Jess Klembara: I brewed a West Coast IPA, but it’s up to each brewery to decide what they want to do. Each brewery can focus on one style or focus on specialty ales. We do send them a recipe for the West Coast IPA if they want, because that’s where I’m from.

John Holl: Have most breweries brewed the West Coast IPA? Or are they doing their own thing?

Jess Klembara: I would say like 30 percent do West Coast. I mean, I don’t know about everyone’s recipe, but there have been a lot of sours. Some people made it pink. We had some dark beers. The Veil did a wine saison that was amazing.

John Holl:  Is there a unifying thread between the beers? There have been beers for various causes in the past where it’s been a single recipe and then people’s interpretation of that recipe. So, is there a unifying thread for all of the breweries that are doing this?

Jess Klembara: The only thing that’s the same is the branding. And all the breweries have to donate to a local cancer organization of their choice. It doesn’t matter how much it just matters that they donate something. We’re helping organizations nationwide, not necessarily nationwide organizations. This is a local initiative.

I’m hoping that companies like BSG or Country Malt or whoever will get involved as well, like they have with other beers like this, to get materials donated so that more breweries can make this beer and do more good.

John Holl: What else do you want people to know about this initiative?

Jess Klembara: That it’s important. It’s more important than people think. People just think that you’re slapping a label on a beer and you’re calling it a day. But to see the emails and messages that have come through, it means a lot more to everyone in the United States more than people think. It really does uplift them during the hardest moments of their life. And I mean, honestly, I probably wouldn’t have opened up as much as I did, because of my journey and how it started. But other people lifted me up just the same way that I feel. It’s like this spirit is lifting others up to become more comfortable in their bodies.

John Holl: For the breweries that want to participate, how do they get in touch?

Jess Klembara: Anyone interested in Scars Are Beautiful can visit our website, FiercelyBrave.org.

Pull Up a Stool is a regular feature on All About Beer. Reach out to editor John Holl at JohnHoll@allaboutbeer.com with suggestions on brewing professionals that should be featured. And to support our journalism, please visit and donate via Patreon.com/AllAboutBeer

The post Pull Up a Stool with Jess Klembara of Confluence Brewing first appeared on All About Beer.

It’s an intimate gathering held each autumn in Denver during, but not affiliated with, The Great American Beer Festival. DRBT is hosted by Pints for Prostates a “grassroots campaign designed to raise awareness about prostate cancer and the importance of early detection in fighting the disease.” All About Beer is once again honored to be the media sponsor of the event.

Every year the DRBT has a collection of some of the best beer in the country all under one roof. The rare part is emphasized. Samuel Adams brings special batches of its already special Utopias. The Lost Abbey picks great vintages of its beers to pour. Avery is known for bringing out barrels that are otherwise hard to find. Sierra Nevada always goes deep into the cellar for something unique.

Other breweries like Jester King, Primitive Beer, Reuben’s Brews, Ale Song Brewing and Blending, Other Half, and Weldwerks have all chosen truly unique offerings to pour.

It’s a mix of larger breweries and smaller ones, but all are united to bring great beers and often the brewers and owners are on hand pouring their beers, giving attendees a better chance to learn about the beers and to meet the artisans.

Check out the beer list here.

Tickets on Sale Now

This year’s DRBT will be held on September 22, 2023 at the McNichols Civic Center in Denver from Noon to 4p.m. There are 64 breweries that have committed to the event, and they are bringing their A game to the beer list.

There are still a few tickets available.                       

All-inclusive tickets are still available for the Denver Rare Beer Tasting 14er, which include four hours of beer sampling, the opportunity to meet the people who brewed them, buffet lunch, collectible tasting glass, t-shirt and program. Attendees will be entered in a drawing to win an amazing beer trip and get the chance to bid in an exciting silent auction that includes a variety of unique beer experiences and collectibles.

Pints for Prostates has also partnered with the Prostate Conditions Education Council on the screening event, which is open to the public. You do not need to have a Denver Rare Beer Tasting ticket to take part in the health screening, which is a simple five minute blood test. The free screening, a $700 value, is available to anyone born with a prostate, including men, transgender women and non-binary people assigned as male at birth.

As editor of All About Beer I’ve spent some time reading over the list over the last few weeks and I’ve been increasingly excited and thirsty. Admittedly, I think lists like this can be silly. If you’re going to the event (and you should) you should read the program in advance and get excited to curate your own experience, or just wander the floor and get pours of what looks or sounds interesting.

But for the purposes of this article here is my list of 10 Beers You Should Drink at the 2014 Denver Rare Beer Tasting. It’s a biased list for sure, but you won’t be disappointed.

10 Beers You Should Drink at the 2023 Denver Rare Beer Tasting

The Big Friendly

Oklahoma City, Oklahoma

Oblique & Bent ABV 4.2%

Table 34

Brewers description: Petite Saison. This 2022 GABF gold medal winner is dry, slightly funky, with a full and complex flavor.

Holl says: Brothers Joe Quinlin and Will Quinlin will be on hand pouring. I had a great conversation with them on the Drink Beer, Think Beer podcast following their win. Their passion and commitment to quality should be commended.

Bombastic Brewing

Hayden, Idaho

Bukwus ABV: 16%

Table 58

Brewers description: Meet the Bukwus, the Wild Man of the Woods, who lives in the country of ghosts. He offers weary travelers a deceptive delectable feast that, when eaten, turns the person into a ghost who becomes part of the Bukwus’ entourage. Will you fall for the temptation of the Bukwus? Imperial Stout aged for 14 months on premium Kentucky Bourbon barrels. Made only once, producing just 91 cases.

Holl says: I don’t know anything about this brewery, but I love the description of this skull pouding stout and that the brewery is bringing a truly rare beer excites me. I expect this one to go quick.

Fox Farm Brewery

Salem, Connecticut

Triolet: Blend of One, Two, and Three Year Old Spontaneous Ale ABV: 6.5%

Table 15

Brewers description: This is a three-year-blend. Inspired by lambic brewing traditions, each thread within the blend was made from the brewery’s untreated well water, a grist of 60% local barley malt and 40% unmalted locally-grown wheat, and whole leaf aged hops. Fermented and aged within a variety of oak formats (wine barrels, puncheons and large casks) the various components were blended for complexity and balance. This is 100% spontaneously fermented and a unique expression of the brewery’s place, people and environment. Fox Farm calls a former dairy barn on a 30-acre parcel home.

Holl says: Fox Farm is the best reason to visit Connecticut for beer. Em Sauter, the co-host of the All About Beer podcast will be pouring on the brewery’s behalf. So, you should stop by the table to say hello and tell her how much you enjoy the dynamic between her and Don Tse. Also, talk to her about art and check out pintsandpanels.com

NoDa Brewing

Charlotte, North Carolina

SLURP Tsunami ABV: 9.2%

Table 37

Brewers description: The SLURP series is an RnD project started 1.5 years ago and the acronym stands for Superior Lupulin Research Product. The series is used to base IPAs on a thiol driven flavor platform and utilize new hop products to accent the base beer without diluting the thiol presentation. This past year NoDa won bronze at the Great American Beer Festival in Experimental IPA with our hazy double IPA version, Big SLURP and months later launched our 6% version, Lil SLURP and it has become one of its best year round sellers. Recently NoDa launched a pilot version called SLURP Surfin’ which was a west coast iteration and it was a huge hit. This beer is the Imperial version of that beer and is hopped with exp 17701, Citra Incognito, Citra Lupomax, Mosaic Incognito and Strata hops. This batch is done as an RnD pilot run and only 4 barrels were produced.

Holl says: Speaking of the All About Beer podcast, Chad Henderson of NoDa Brewing is on a recent episode, talking about how he created and approaches Gordgeous, his award winning pumpkin ale. Plus, Henderson is a DRBT veteran and always brings something special to embrace the spirit of the event.

Twin Elephant Brewing

Chatham, New Jersey

Under the Running Board ABV: 13%

Table 44

Brewers description: Bourbon barrel-aged imperial stout with toasted coconut and Guinean cacao nibs. First time single barrel collab release with the band Dillinger Escape Plan. Twin Elephant has minority women ownership.

Holl says: This is the brewery’s first DRBT appearance, and as one of two New Jersey breweries (make sure you stop over at Kane Brewing at Table 5 as well) it’s deserving of your time and attention.

Wallenpaupack Brewing

Hawley, Pennsylvania

Bourbon Barrel Fermented Grodziskie ABV: 3.3%

Brewers description: This Polish-style smoked wheat beer was fermented in freshly dumped Heaven Hill Bourbon barrels. A grist consisting solely of oak smoked wheat contributes prominent smoke flavor and considerable body for such a small beer. A healthy dose of noble hops and high carbonation level cut through the smoke, keeping it light and refreshing. Barrel fermentation rounds out this unique brew with subtle notes of oak and vanilla. Only six oak barrels of this beer were produced, and you would be hard pressed to find this combination elsewhere.

Holl says: Polish Champagne! That there is only one Rauchbier on this year’s DRBT list means that the style has finally gone mainstream and as it’s available at every corner bodega and multiple taps at each brewery, creating a rare one is truly special. It’s not often that you’re getting a bourbon-barrel-aged beer at just above 3%, but when you do, you know it’s coming from Logan Ackerley, Wallenpaupack’s head brewer.

Smoked beer lovers unite by joining us at the This Week in Rauchbier Facebook page.

Weathered Souls Brewing

San Antonio, Texas

French Press – Prince Style ABV: 14.5%

Table 8

Brewers description: This barrel-aged Imperial  Stout is a member’s only  off ering brewed with rare  coffee produced by Longroad  Coffee Company. A well balanced coffee stout with  delicate flavors based on the  method of processing the  coffee in the beer. Lots of chocolate, caramel, and light vanilla notes from the coffee with a balance of bitter dark chocolate from the toasted nibs that finish with the oak and tannins from the barrel.

Holl says: I don’t belong to brewery bottle clubs, but often wish I did. DRBT is a chance to taste what those lucky folks who do have memberships get to drink at home. This is one of those beers, and given how Marcus Baskerville approaches barrels, we’re in for a treat.

Bow & Arrow Brewing 

Albuquerque, NM

Sunbloom Saison ABV: 6.3%

Brewers description: Infused with Navajo sumac berries and orange peel. The sumac is sourced from the tribally-owned Navajo Agricultural Products Industry.

Holl says: I’m intrigued by these ingredients and to learn more about the sourcing. The description is indicative of truly local brewing, something I enjoy learning about and tasting.

Dogfish Head Craft Brewery

Milton, Delaware

Bière de Coupage ABV: 10%

Table 56

Brewers description: Le Botaniste blended farmhouse ale comprised of a Saison aged one year in DFH Mellowdious Gin barrels blended with a mixed culture golden ale aged in French oak for 3 years.

Holl says: Dogfish head has been reveling and innovating in rare beer since its founding. This kind of sorcery is in its DNA. Not all of the beers work, but there’s always much to admire in the effort. This will have a lot going on in the glass, and I’m looking forward to the experience.

Bierstadt Lagerhaus

Denver, Colorado

Oktoberfest ABV: 5.6%

Table 31

Brewers description: A traditional marzen, this is a seasonal release. Brewed based on readily available ingredients, tradition and weather conditions, the rarity of a seasonal is part of the associated charm to be revered and celebrated. Bierstadt is a lager-only brewpub located in the RiNo district of Denver.

Holl says: This beer is rare in that it’s a seasonal offering. But, it’s a lager made by Bierstadt and Ashleigh Carter and Bill Eye are masters of the craft. After all the imperial stouts, the vanilla everything, these pours of Oktoberfest are going to taste even more magical. I will likely be living at this table.

Get Your Tickets Now

There are still limited tickets available for the Denver Rare Beer Tasting. Get yours now.

A quick search of flights from various points around the country and of hotel rooms in the city shockingly shows availability. If you were going to be spontaneous for a beer adventure, this is the time.

I’ll see you there, and obviously at Bierstadt Lagerhaus afterwards.

The post 10 Beers to Drink at the Denver Rare Beer Tasting 14 first appeared on All About Beer.