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Deep Dive:
Australia’s Best Merlot

Wines Of Now
1 August 2025. Words by YGOW.

Merlot’s reputation in Australia is mixed, to say the least. On the one hand, the variety is the source of one of the world’s most highly regarded (and therefore most expensive) wines, Petrus. On the other, the shelves of Australia’s chain bottle shops groan under the weight of cheap and cheerful bulk-produced merlots, self-professed wine aficionados love to hate it, and the infamous line about “not drinking any f**king merlot” from the 2004 film Sideways still hovers over any discussion about it. Now that Australian winegrowers can plant a diverse range of genetic material for their merlot, and as a new generation of winemakers discovers the virtues of the variety, merlot now has its chance to shine – which means a Deep Dive into the subject is in order.

We gathered every Australian merlot we could find and set our expert panel the task of finding the wines that compelled the most. All wines were tasted blind, and each panellist named their top six wines. Below are the wines that made the panellists’ top-six selections from the tasting.

Our panel: Ben Luker, winemaker, Meredith; Serena Lee, head sommelier, Nomad; Thomas Donegan, national sales manager, Shaw & Smith; Hanna Johansson, sales manager, Vintage & Vine; Jacob Payseno, sommelier, City Wine Shop; Tais Silva Prades Villela, sommelier, Punch Lane; Callum Strong, wine educator, University of Melbourne.

The top wines

2021 Gioiello ‘Estate’ Merlot, Upper Goulburn $30 RRP

This wine was picked in the top six of the blind tasting by Luker, Strong and Silva Prades Villela. Luker called it “a great example of pure, unadulterated drinkability,” highlighting its delicate violet perfume and moreish palate of fresh raspberries. Strong praised it as “a delicious old-school style of merlot,” with a nose of dark cherry, dried cranberry and sultana, plus deeper notes of sarsaparilla, chinotto, cedar and iodine. On the palate, he found richness and tannic grip, with red fruit density and lingering structure: “Certainly not one for the cellar – but brilliant for drinking now, with good company and deep conversation.” Silva Prades Villela was also drawn to its darker, bolder style, noting aromas of cooked plum and raspberry jam with a smoky twist, and flavours of soft, ripe plums and clove spice. “I could see myself enjoying it with some snacks on a cloudy Sunday afternoon.”

 

2024 Little Frances Merlot, Beechworth $32 RRP

Chosen by Donegan, Strong, Lee and Silva Prades Villela in their top six wines of the blind tasting. Donegan described it as “the deeper, darker and more hedonistic end of the merlot spectrum – but in a bloody impressive way,” with meaty, umami tones, chewy black cherry skins, ripe plum and slippery mid-palate texture. He found the wine medium-bodied and superbly structured, suggesting it would be a knockout with “a slow-cooked dish made from a rich cut of meat and plenty of cloves – or just a hefty slice of black chocolate.” Silva Prades Villela noted jammy plum aromatics and a rich, comforting mouthfeel of vibrant red fruits – “perfect for a Sunday roast … best enjoyed on a cloudy day in a cosy, warm place.” Lee selected it for the way its smooth texture wrapped around bold vegetal and spice notes: tomato leaf, thyme, clove, cardamom and nutmeg. She saw it as a wine “with more personality on the nose,” but harmonious on the palate, ideally suited to Mediterranean pairings. Strong found it “an expression of a lighter merlot style,” noting violet, cranberry and Turkish delight aromas, with a fresh berry palate, soft tannins and “good length drawn out by subtle oak.”

 

2024 Kies Family ‘Deer Stalker’ Merlot, Barossa Valley $20 RRP

Selected in the top six by Johansson, Luker and Strong, this wine made a strong impression for its lighter, fresher take on the variety. Johansson described it as “fresh and lively,” driven by red fruits – sour cherry, rhubarb and red plum – with amaro-like bitterness, spicy red liquorice and zippy acidity: “A new generation of merlot … fun and youthful with great food pairing versatility.” Luker noted the lifted aromatics of violets and red jubes (not cloying), with a juicy, raspberry-driven palate and a touch of strawberry jam. Strong saw it as a refreshing, nouveau-style wine, full of kirsch, confectionery and Red Ripper-like aromas, with a fleshy, high-acid palate that makes it “an approachable, friendly introduction to merlot.”

 

2019 Irvine Wines ‘Grand Merlot’, Eden Valley $150 RRP

Selected as a top wine in the blind tasting by Lee and Payseno, this merlot struck a balance between classic varietal markers and a more contemporary freshness. Lee was hooked from the first sniff, loving its bright red fruit – cranberry, raspberry, and wild berries – with herbaceous flecks of blackcurrant leaf, oregano and dill. Mocha and soft chocolate emerged with air, and she found the wine continually evolved with time, each element arriving in balance. “Fun, charming, and super-easy to enjoy – a perfect wine for a young couple on a first date.” Payseno praised its plushness and polish, with juicy blackberries, Ribena and grape soda flavours, framed by cocoa, coconut oak and a touch of mint on the finish. “A well-balanced and complex wine that is desperately seeking a steak with peppercorn sauce.”

 

2023 Lauren Langfield Wines ‘Macfield’ Merlot, Limestone Coast $36 RRP

Donegan and Strong both chose this as one of their top wines, drawn to its classic structure and savoury intrigue. Donegan praised its balance of freshness and depth, with raspberry coulis, red cherry, herbs and sea spray aromatics, leading to a medium-bodied palate with cedar, sandalwood and fine-boned structure. “Crying out for food – roast meats with dried garden herbs would be ideal.” Strong found himself returning again and again, intrigued by its complexity: tamarind, allspice, five-spice and red fruits, lifted with vanilla and mahogany. “Umami and moreish,” he said, with juicy fruit and brightness – the perfect match for a charcuterie board.

 

2022 Leconfield Merlot, Coonawarra $28 RRP

Picked in the top six by Lee, Payseno and Donegan, this wine offered a plush, generous take on the variety while remaining approachable and food-friendly. Lee found its soft, rounded mouthfeel and ripe cranberry–blueberry fruit character reminiscent of “St Dalfour jam – my favourite!” Oak brought mocha, toast and coffee to the palate, complementing the fruit and making it a perfect candidate for guests new to wine: “So welcoming in the glass.” Payseno described it as “enchanting,” with elegant floral lift and spice – jasmine, violet, orange peel and sandalwood – over red and black berries. “Plenty of elegance, but still has enough meat-and-potatoes to hold attention.” Donegan noted a reductive funk that added intrigue, with dark fruit density, spice, aged balsamic and liquorice-allsorts sweetness. “Decadent and warming – a throwback done well, ideal with a meaty stew of lamb or rabbit.”

 

2022 Altair Merlot, Margaret River $44 RRP

Chosen by Johansson and Silva Prades Villela, this wine stood out for its harmony between bright fruit and brooding depth. Johansson noted red plum and raspberry alongside darker blackberry and black plum tones, with savoury vanilla, mocha and clove from oak, and plush tannins kept lively with biting acidity. “Not too heavy, not too light… a wine made for a buffet table.” Silva Prades Villela also admired its bold profile: ripe plums, candied purple fruits, and soft tannins on the palate, with a curious popcorn note adding character. “I can imagine drinking this on a rainy afternoon, sitting next to a fireplace with a good book.”

 

2023 Rosily Merlot

Luker and Donegan both included this in their top six selections from the blind tasting, each finding appeal in its balance of richness and poise. Luker praised it as “a great representation of a heavier, richer style,” with dense mulberries and ripe blackberries wrapped in a warm hug of baking spice. “Great concentration and generous tannins, with rich flavour that lingers.” Donegan was drawn to its lifted, old-world intrigue: fresh garden herbs, raspberry liquorice, even a touch of boot-polish, framing a fresher, high-acid style with framboise, wild strawberry and red cherry on the palate. “Pencil shavings and cinnamon lend a nice woody complexity… a modern classic of the variety, well-suited to the modern drinker.”

 

2022 Tread Softly Merlot, South Australia & Victoria $16 RRP

Silva Prades Villela included this wine in her top six from the blind tasting, admiring its approachable profile and crossover appeal. “Lighter in colour, showing smoky, sweeter cherry and cassis fruits on the nose,” she said, while the palate brought fresher, just-ripe raspberries and cherries, with a lightly acidic plum jam character. It’s a merlot that “balances bright acidity with flavour depth, and would appeal to someone who likes a pinot noir but is willing to branch out and taste something new.”

 

2023 Blue Poles Reserve Merlot, Margaret River $50 RRP

This wine earned a top-six spot from Payseno, who was instantly struck by its vibrancy and charm. “What a delightful little wine,” he said, noting the energy created by the interplay of fruit and acid. “Freeze-dried strawberry and blueberry, Red Rippers and confected raspberry, orange and poppyseed loaf,” all lifted by a touch of volatile acidity that integrated into the wine’s overall brightness. Tannins played a gentle supporting role, and the finish kept him coming back for more.

 

2024 Elephant in the Room ‘Whopping Merlot’, Limestone Coast $16 RRP

Johansson and Silva Prades Villela each picked this wine in their top six, impressed by its generosity and polish. Johansson described it as slightly riper in profile than many others in the line-up, with berry compote flavours of pomegranate, black cherries and red plums. Christmas spices – clove, cinnamon, orange peel and vanilla – were subtle and well-integrated, the plush tannins balanced by refreshing acidity. “A well-made, well-balanced merlot.” For Silva Prades Villela, the wine opened with “sweet ripe red cherries” and a smooth, rich mouthfeel. “This is a wine that doesn’t need food – the perfect accompaniment to a nice lazy afternoon.”

 

2024 Michelini Merlot, Alpine Valleys $25 RRP

Luker included this in his top six, impressed by its balance of brightness and savoury complexity. The nose showed “fresh, bright blackcurrant with a touch of rose,” while the palate carried darker berry fruit – “think cooked blackberries” – with a refined structure that “balances length with lightness of touch.” A wine bridging the gap between immediate appeal and thoughtful detail.

 

2023 Mullet ‘Hard Merlot’, South Australia $16 RRP

Payseno highlighted this in his top six as the most unconventional and surprising wine in the tasting. Full-bodied and plush, it showed a “fruits basket” of cranberry and Christmas plum alongside tropical notes of pineapple skin, green mango and papaya. “Structurally sound … with just enough tannin and phenolic grip to bring you back to reality.” Whether it’s the vineyard or the winemaking, he concluded, “either they’re growing merlot next to the pineapples in Queensland, or some very clever winemaking went into this wine!”

2022 Grant Burge ‘Hillcot’ Merlot, Barossa Valley $27 RRP

Lee nominated this wine in her top six for its clarity and classic charm. “Sweet red plum and red cherry aromas come straight out of the glass,” she said. “It feels like cranberry chocolate turned to wine – but nothing here is overdone.” Ripe red fruits were complemented by gentle herbal tones of oregano and bay leaf, while milk chocolate–like oak rounded things out. “So smoothly and comfortably put together … a wine I’d love to bring to a potluck party with my girlfriends – easy to share, easy to enjoy.”

 

2023 Hunter Wine Lab Merlot, Hilltops $35

Selected by Strong in his top six wines from the blind tasting, this was, for him, “the most herbaceous expression of merlot in the line-up.” Mint and dried herbs leapt from the glass, joined by red cherry fruit and chocolatey, toasty notes from oak ageing – “think Mint Patties and Cherry Ripe!” The palate followed through with medium body, bright acidity and juicy fruit, all kept in harmony with modest oak. “It certainly carried some weight on the mid-palate but was light on its feet.”

 

2022 Curtis Family Vineyards ‘Legion’ Merlot, McLaren Vale $35 RRP

Chosen by Johansson, Strong and Payseno among their top wines from the blind lineup, this merlot impressed for its complexity and layered identity. Johansson noted it initially appeared closed and slightly spritzy, but with air revealed itself as a wine that “balances the two sides of merlot: red-fruited and bright, while also having some darker, spicier characters.” Sour cherry, plum and ripe strawberry met orange zest and amaro tones, with a bitter orange finish that begged another sip – “a more modern take on merlot,” she said. Strong admired its old-school depth, calling it “a big wine” built for steak and jus. Blackcurrant, dark cherry, tobacco and cigar box aromas led into a palate of jammy richness, clove and nutmeg complexity, and a long, satisfying finish. Payseno celebrated its kaleidoscopic personality: “a little bit juicy, plush and soft; a little bit animal and savoury; and a little bit pretty and floral.” Notes of overripe plum, raisin, blood, ironstone and spice rolled across a structured palate with grippy, black-tea tannins to clean up the finish.

 

2022 K1 by Geoff Hardy Merlot, Adelaide Hills $45 RRP

Johansson counted this among her top six picks from the blind tasting, praising it as “the most classic example of what I would have associated with merlot,” yet with impressive finesse. “It was the last wine tasted in our Deep Dive and could have been very easily overlooked, but I kept coming back to it.” Red cherry, raspberry and pomegranate were joined by layers of liquorice and tobacco, with integrated oak and fine, dusty tannins. “Remarkable structure, really good length … one of the more age-worthy wines of the day.”

 

2022 Hickinbotham ‘The Revivalist’ Merlot, McLaren Vale $90 RRP

Both Luker and Silva Prades Villela selected this in their top six wines of the blind tasting. Luker said it was the “heaviest example in my top six,” but beautifully done, with a floral nose of rose, violet and cherry leading into a dense, structured palate “chock-full of blackberry and blackcurrant, with chalky tannins that provide length and structure.” For Silva Prades Villela, this wine evoked an entire meal: “It smells and tastes like toast made from dark rye bread with a fancy blackberry and raspberry jam made with a touch of cinnamon, that’s been topped with a smear of burrata or another creamy cheese.” Her verdict: “Perfect brunch wine!”

 

2023 Parker Estate ‘Terra Rossa’ Merlot, Coonawarra $34 RRP

Lee included this wine in her top six from the blind tasting, highlighting its appeal for a younger, modern audience. “This wine really represents a style which is very popular right now for younger wine drinkers: fresh and vibrant,” she said. Tart berries, wild cherry and orange peel joined floral aromatics of violet and lavender, while the palate showed slightly pronounced acidity, “fruity and fragrant” with layers of vanilla and cinnamon. “The finish is dry … This could be served as a chilled red, alongside brunch or as a happy hour drink.” Her recommendation? “Charcuterie in the late afternoon. A very modern and attractive wine!”

 

2022 Richard Hamilton ‘Lot 148’ Merlot, McLaren Vale $28 RRP

Donegan included this wine in his top six picks from the blind tasting, praising it as “light, elegant, fine, lifted” – a fresh, cool-climate merlot that felt like it could “make merlot cool again … literally.” He noted the fruit may be simpler than others due to a cooler season, but found plenty to admire: raspberry drops, Cherry Ripe, sage and fresh thyme. “You could tell me this is Langhe nebbiolo or Rossi di Montalcino and I wouldn’t be surprised.” A palate of restraint, finesse and genuine individuality made this a standout for him.

 

2024 Timo Mayer Merlot, Yarra Valley $55 RRP

Among the top selections of Payseno, this merlot was all power and personality. “Rich, robust, powerful – a merlot you can really sink your teeth into.” He found it savoury and herbal, with “tomato leaf, iodine and ironstone – almost like drinking a Bloody Mary.” Though the fruit sat back, bright red cherry and ripe red plum came through when needed, alongside plenty of acid and tannin to match the intensity. “Very food friendly – if you give it some fattiness to cut through.”

 

2022 Irvine Wines ‘Altitude’ Merlot, Eden Valley $35 RRP

Both Johansson and Lee counted this wine in their top picks from the blind tasting. For Johansson, it was her “wild card” selection – standing out for being on the “dark and broody” side of merlot: “black plums and blackberries with hints of rum and raisin, mocha, vanilla, dark chocolate, and coffee.” Plush, rich, with impressive concentration and length, it left an aftertaste of rum and raisin chocolate. “This is the wine for a barbecue, or to accompany a selection of hard cheeses … not for everyone, but perfect for those seeking a riper style.” Lee felt it wasn’t the most complex in the line-up, but admired its balance and honesty: “Nothing stands out too much, and everything feels so harmonious … ripe red fruits, very delicate dried herbs, and sweet oak spice such as vanilla and toast.” It was, she said, the kind of wine she’d reach for after a Friday night shift – “straightforward, honest, and delicious” – that would also be perfect with homemade tomato pasta over a weekend lunch.

 

2022 Hesketh ‘Dangerous Type’ Merlot, Limestone Coast $16 RRP

Donegan ranked this wine among his top six, pointing to its “warm-climate” richness and character. He noted possible development and “a whiff of volatile acidity” – but in a way that added lift and complexity. “Black plums, black cherry, Chambord liqueur and dark chocolate” were joined by herbal elements of lavender, thyme and garrigue. The palate was “plush: all velvet- and velour-like textures,” with brooding depth, ultra-fine tannins and well-managed oak. “This is for the drinker that wants it all… including a warm hug to finish!”

 

 

2023 Black & Ginger ‘The Virginia – Hound’s Run Vineyard’ Merlot, Grampians $65 RRP

Luker nominated this wine in his top six from the blind tasting, noting it was the one he “continued to revisit to get my head around.” He described the nose as “incredibly interesting,” with a delicate floral quality, “almost pot pourri-esque, but not that overwhelming stuff you find at your grandmother’s house.” The palate was “all linear and bright, with crunchy cranberry fruit and Campari-like bitterness.” A distinctive style, but one that clearly kept calling him back.

The backstory

Merlot’s reputation in Australia is mixed, to say the least. On the one hand, the variety is the source of one of the world’s most highly regarded (and therefore most expensive) wines, Petrus. On the other, the shelves of Australia’s chain bottle shops groan under the weight of cheap and cheerful bulk-produced merlots, self-professed wine aficionados love to hate it, and the infamous line about “not drinking any f**king merlot” from the 2004 film Sideways still hovers over any discussion about it. Now that Australian winegrowers can plant a diverse range of genetic material for their merlot, and as a new generation of winemakers discovers the virtues of the variety, merlot now has its chance to shine.

Merlot is a member of the cabernet family of grape varieties – a half-sibling of both cabernet sauvignon and malbec, and a child of cabernet franc. Its name probably comes from the French merle, ‘blackbird’, owing to the birds’ supposed fondness for eating the variety on the vine. And while its precise origins are unknown, it likely emerged as a natural crossing in Bordeaux’s vineyards at some stage in the 18th century, where it played a relatively minor role until the late 19th and early 20th centuries. Merlot became something of a hero variety in the wake of the grape louse phylloxera, which arrived in Bordeaux in 1866 and laid waste to the region’s vineyards. Unlike other Bordelaise varieties, merlot cheerfully accepted being grafted onto phylloxera-resistant American rootstocks, and thus became planted widely as part of the region’s viticultural recovery. So widespread has this planting been that, despite Bordeaux’s reputation as the world’s pre-eminent region for cabernet sauvignon, it currently hosts significantly more hectares under vine of merlot (approximately 71,000) than it does of cabernet sauvignon (approximately 24,000).

Above: woodcut engraving of phylloxera from Theodor Rümpler’s 1882 book Gartenbau-Lexikon (Encyclopedia of Horticulture). Opposite: merlot grapes on the vine.

The variety’s Bordelaise background and its association with cabernet sauvignon – currently the world’s most-planted wine grape variety with 341,000 hectares under vine – means that merlot isn’t far behind its step-sibling in terms of global area planted, taking second place in the league table at 266,000 hectares. As Jancis Robinson, Julia Harding and José Vouillamoz’s authoritative reference book Wine Grapes notes somewhat dryly, “It would be quicker and easier to say where merlot is not grown than to list the many regions and countries in which it has been planted.” 

Unlike many of Australia’s mainstream grape varieties, merlot did not arrive in Australia with the famous Busby Collection of the 1830s – instead, it reached our shores much later, in 1965. Importantly, the cuttings were not from a Bordelaise source, but from the University of California’s Davis campus grapevine library – a fact that would much later become the source of some angst and controversy for Australian merlot growers. Merlot had a relatively slow start in Australia, with total production not even recorded in our official annual vintage reports until 1987 and languishing behind the relatively minor variety mataro in terms of tonnes harvested until 1992. But as the Australian wine industry boomed in the mid-90s to mid-2000s – fuelled by an international love affair with our modestly-priced ‘sunshine in a bottle’ wines such as Yellow Tail, as well as a then-thriving market for more high-end ‘cult’ wines that had been nurtured by influential wine critics such as Robert M. Parker, Jr. – merlot became the belle of the Australian wine industry’s ball, with tonnes harvested rising from just over 6000 in 1995 to a peak of 112,000 in 2016. (For context, in 2025 Australia harvested just under 80,000 tonnes of the variety, making It our third most-popular red variety, at least in production terms.)

 

From Bordeaux hero to Hollywood villain

Nearly every introductory guide to Bordeaux will say something like the following about merlot: grown more on the right bank than the left bank, where cabernet sauvignon dominates; used to add softness and fleshiness to Bordeaux blends to counteract the stern tannins and acidity of straight cabernet; very rarely makes great wines by itself (with the exception of Petrus and Le Pin). While this can be true for some producers, it dramatically undersells what the variety can do – and why it dominates the plantings of the region.

As previously mentioned, merlot became widespread in Bordeaux in the wake of the phylloxera epidemic, because it was an easier variety to graft onto American species of rootstocks. The art and science of vine grafting has progressed a long way since that time – most of the world’s vineyards, including the majority of Australia’s, are planted on these rootstocks – but merlot has plenty of other viticultural advantages to recommend it. It ripens earlier than other Bordeaux varieties (especially useful in an area when harvest-time rains can force estates to either harvest slightly underripe grapes or release dilute wines) and can achieve ripeness in a variety of climatic conditions (which helps even out the effects of Bordeaux’s notoriously variable vintages), although it is susceptible to both frost and drought. It doesn’t require as high a planting density as other Bordeaux varieties, making it economical to plant, and it has natural resistance to many of the vine diseases that are common in the region. And if it is planted on the right type of soil – such as, but not limited to the famous sticky blue clay of the Pomerol plateau – it is capable of producing wines so great that they rank among the world’s most expensive and sought-after.

Above: The city of Bordeaux in Bordeaux, France – merlot’s likely origin and spiritual home. Opposite: merlot vines at Petrus in Pomerol, Bordeaux – the source of one of the world’s most highly-prized (and expensive) red wines. (Photo by Giogo, CC BY-SA 4.0.)

These same virtues have seen merlot planted just about everywhere that wine grapes are grown – and that global ubiquity is the source of many of the perception problems that bedevil the variety. Familiarity breeds contempt, and in the late 1990s and early 2000s, no wine market was more familiar with varietal merlot wines than the United States of America. Here the variety had been turned into exceptionally popular table reds with plush, jammy fruit profiles, medium acidity, and soft tannins – the vinous equivalent of a fluffy bathrobe. Merlot producers were happy to bask in its reputation as a crowd-pleaser – the kind of thing you would buy to bring to a party, or when meeting your partner’s parents for the first time – until the 2004 release of Alexander Payne’s film Sideways, starring Paul Giamatti and Hayden Thomas Church as a pair of dysfunctional wine-lovers on a chaotic road trip through California’s Santa Ynez Valley wine region. Giamatti’s character, Miles Raymond, adores pinot noir and (supposedly) despises merlot. In one memorable scene, he has a meltdown at the prospect of potentially having to drink it during a dinner: “If anyone orders merlot, I’m leaving. I am not drinking any fucking merlot!”

The film itself is kinder to merlot than many give it credit for. Payne paints Giamatti’s character as something of a pompous blowhard when it comes to wine, rather than a role model – his most treasured bottle, a 1961 Château Cheval Blanc, is a blend of merlot and cabernet franc, another variety he denigrates. Yet despite this textual irony, the message that American consumers took from the film was simple: pinot noir good, merlot bad. American sales of pinot noir increased by 16 per cent in the wake of the film, and merlot sales dipped by two per cent, with a corresponding decrease in contract grape prices for merlot. (California’s production of pinot noir, by contrast, increased by 170 per cent between the release of Sideways and 2017 – a period when total wine production in the state increased by only roughly eight per cent.) And while the film didn’t have quite the same cultural impact here in Australia as it did in America, the “fucking merlot!” line still lingers like a bad smell over any discussion of the variety.

 

Attack of the clone

If merlot’s story in Australia has a villain, its name is D3V14 – the most widely grown clone of merlot on these shores. (‘Clones’, in viticultural terms, are specific strains of grape varieties that have emerged from small mutations that can occur whenever vines are propagated via cuttings.) It was this clone of merlot that arrived in Australia in 1965, and it was the only clone available to plant in the country until relatively recently. And for Colleen Miller of Wrattonbully’s Mérite, a specialist grower and producer of high-quality merlot, much of the blame for merlot’s bad reputation can be laid at the feet of a handful of D3V14’s viticultural quirks.

Above: Mérite’s Wrattonbully vineyard. Opposite: merlot grapes grown on terra rossa soils over limestone bedrock at Mérite.

“It suffers from uneven flowering and fruitset, and that determines the quality of the berries and the trajectory they will be on as it comes into ripening,” she says of D3V14. “So if you have a bunch of grapes, and some of those grapes have flowered and set a week later than the others, then if you harvest that one bunch you’ll have berries with all different flavours – some are still green.” These green berries add undesirable flavours – in Miller’s words, they “downgrade the wine severely; green flavours are the enemy in merlot” – therefore, to avoid them, winegrowers tend to leave their D3V14 grapes on the vine until the whole bunch is overripe. (D3V14 can also leave a green filmy pouch around its seeds, which means they do not always ripen fully – another potential vector for unwanted green characteristics to enter the wine, and another reason it is often left to get overripe.)  “The D-clone tends to be harvested very late, so the flavour profiles tend to be very ripe,” Miller says – something winemakers might compensate for by adding acids to the wine. “So when you have the average Aussie saying ‘I don’t like Australian merlot,’ what they’ve tasted is what the D-clone can produce,” she concludes.

“When you have the average Aussie saying ‘I don’t like Australian merlot,’ what they’ve tasted is what the D-clone can produce.”

Like all good villains, D3V14 has a redemption arc, too. The late Jim Irvine of Irvine Wines, one of Australia’s most outspoken champions of the variety (and producer of the iconic ‘Grand Merlot’), refused to lay blame for Australian merlot’s quality issues at the feet of D3V14, saying in an an interview with writer Blair Speedy that vine age, viticultural errors, and lack of winemaking know-how were more to blame: “So much merlot in Australia is planted on the wrong sites – people expect that it will just grow like shiraz or grenache, but it doesn’t – it hates wet feet, for a start, it needs well-drained soil, so if you plant it in clay you’ll have problems, the fruit won’t set properly.”

Above: Fruit from two newer clones of merlot at Mérite – 8R on left, Q45 on right. Opposite: fully ripe seeds – as opposed to the underripe seeds sometimes seen in D3V14 clone berries – in a bunch of Q45 clone at Mérite.

While Miller might disagree with Irvine on the subject of planting on clay soils – she argues that some of Mérite’s finest merlot fruit comes from parcels grown on clay – she, too stresses that D3V14 is capable of greatness in the right circumstances, and with the right level of care: “There are some smaller producers who might have a really good site in a good region, in a cool-climate region, and the vineyard might be small enough that they’re going out there and doing hand work or they are otherwise compensating for the deficiencies of that clone,” she says. While she and husband Mike Kloak have planted a variety of newly available merlot clones in their vineyard, she still grows plenty of D3V14 for her own label and others, although the extra work in the vineyard and winery to compensate for its quirks – techniques such as extra tractor passes to remove excess foliage and the use of an optical sorting machine to remove green berries from the harvest – means that it costs Mérite roughly 20% more to produce quality D3V14 fruit than it does to produce fruit from their newer clones.

 

A classic makes a comeback

Merlot’s position in the Australian wine market is currently a strange one, with a handful of prestigious top-end bottlings (such as Irvine’s ‘Grand Merlot’ and Mérite’s flagship merlot bottling), a small number of medium-priced offerings from independent producers, and a large quantity of mass-market ‘cheap and cheerful’ offerings mostly destined for chain bottle shops. Aside from a small market of cognoscenti, merlot’s reputational issues make it a hard sell as a ‘serious’ wine, even as the variety is championed by wine establishment figures such as Penfolds’ Peter Gago – who has said in a Zoom interview with British wine journalist Tim Atkin MW “I think [merlot]’s the space to watch in Australia’’.

Above and opposite: Peter Gago of Penfolds.

Erin Frances Pooley of Little Frances, who makes a merlot from Beechworth fruit and has made merlot in California, argues that it’s a variety that rewards the effort of selling it. She was inspired to make merlot by the “overwhelmingly delicious and unpretentious” merlots coming out of Italy’s north-east, as well as Australian examples out of the Adelaide Hills produced by Lauren Langfield, Gareth Belton and Stephen George. In her words, making merlot is about “trying to translate what I taste in the fruit in the vineyard into the bottle for the customers.”

Making merlot is one part of the equation – it needs to be sold, too. “I definitely try to work with restaurants and retailers, in particular, that can put the wine in the glass of the person that is receptive,” Pooley says. “So with my merlot, I find the most success is definitely in those places where there’s people who are trying to support the customer and get them something that they’re looking for or might not know that they would like. If they are drinking wines that are in the same vein as a cru Beaujolais, or they want maybe something that’s a little bit deeper than a pinot noir … maybe not something quite as robust as a South Australian red wine, for example, then there’s a nice middle-ground, and merlot might be the right thing for them.” Miller likewise took a similar approach for the early releases of her premier merlot bottling, and targeted sommeliers by sending them unlabelled bottles and promising to reveal the variety once they had tasted the wine.

Above and opposite: Erin Frances Pooley of Little Frances.

Both Miller and Pooley concur that merlot’s future in Australia will be shaped by cool-climate expressions. Pooley says, “I’ve seen it lose a lot of nuance with hot weather – I like that purposeful delicacy and juicier fruit.” She adds: “And if you can retain natural acidity, then that’s ideal. I think it’s just important not to make merlot into a cabernet, because it’s a different grape and it doesn’t need to be cabernet – that’s what cabernet is for. I don’t like to see a lot of extraction in the wine – but then, you know, plenty of people may prefer that, too.”

For Miller, merlot’s future is in the diversity of styles that can be made now that Australian winegrowers have access to a much wider array of clonal material than just D3V14. While she cautions that these new clones require significant investment – she argues that they cannot simply be top-grafted over existing D3V14 plantings, as “you’ve still got the D-clone on the bottom and it’s communicating behaviour up to the top vine” – for her, they also give winemakers a richer spectrum of flavours to play with. “One of our clones has a bit more red fruits, so that gives us fruitiness,” she says. “Another of our clones has much darker fruit flavours – a bit more cabernet-like, so it’s not very merlot-like, but it has really nice glistening tannins.” Once winegrowers figure out the puzzle of matching specific clones to soils and climates, she foresees an exceptionally diverse and interesting array of merlot styles being produced in Australia – something that, in her opinion, is already starting to happen.

“It’s a classic. And classics never really go out of fashion – there’s always a reason that they hang around.”

For all its potential diversity, though, Australian merlot’s real strength might be its unassuming and decidedly untrendy nature. “It’s a classic,” Pooley says. “And classics never really go out of fashion – there’s always a reason that they hang around. So my merlot might be a bit of a sleeper, and an underrated grape – but it’ll be the first bottle to be emptied on the table, for sure.”

Above: Our Deep Dive panellists gathered at the Mount Erica Hotel, Prahran (Melbourne).

Outtakes from the tasting

We gathered every Australian merlot we could find and set our expert panel the task of finding the wines that compelled the most. All wines were tasted blind, and each panellist named their top six wines. Below are the wines that made the panellists’ top-six selections from the tasting.

Our panel: Ben Luker, winemaker, Meredith; Serena Lee, head sommelier, Nomad; Thomas Donegan, national sales manager, Shaw & Smith; Hanna Johansson, sales manager, Vintage & Vine; Jacob Payseno, sommelier, City Wine Shop; Tais Silva Prades Villela, sommelier, Punch Lane; Callum Strong, wine educator, University of Melbourne.

Payseno commenced the discussion by noting that, although there was a strong diversity of styles in the lineup, certain themes recurred in the tasting: “I saw a lot of the same few notes repeated quite a lot, maybe with a ‘different coat of paint on them’ each particular time: super savoury, tomato leaf and spice, or super fruity, or dark and brooding,” he said. “So this tasting helps you build an idea in your head of what merlot is.” He added: “I saw very similar things repeated a couple of times – and that was actually refreshing to see, because it gives you some level of typicity to go off.”

Above: Hanna Johansson. Opposite: Jacob Payseno.

Johansson noted that some of the wines in the lineup showed evidence of extreme ripeness from long hang times. “There’s a couple very much where it feels like an active winemaking choice as well, which I described as ‘raisin’ and ‘chocolate’,” she said. “I enjoyed these as quite a different stylistic choice compared to many quite vibrant, red-fruited styles.”

Above: Tom Donegan. Opposite: The panel tasting. All wines tasted ‘blind’, with palates cleansed thanks to Antipodes.

For Donegan, particular styles didn’t so much matter as deliberation and commitment from winemakers. “I felt like the wines I enjoyed the most made that stylistic choice at the start,” he said. “A couple of the wines I didn’t really like felt as though they were caught in the middle ground – like, which way are you going? Were they aiming for that bright, more vibrant style? Or were they going down that sort of darker, bit of spice, more savoury path? It felt that they didn’t commit to either camp.”

“The most impressive wines had structure about them – they were quite confident, and they were walking a line of having concentration and tension.”

Luker felt that the most impressive examples were defined by their structure. “The most impressive wines had structure about them – they were quite confident, and they were walking a line of having concentration and tension,” he said. “Even if they were on the lighter side – on the fresher red fruit side – they still had quite an imprint of tannin. Probably the wines that were more disappointing felt a little bit more commercial or a bit more polished, maybe with hints of residual sugar in there. And so you have different styles, and can talk about the fresher or the more classic – but the best wines seem to embrace the structural element of the variety.”

Opposite: Ben Luker. Above: Callum Strong.

Strong noted that the quality of the wines across the board was “pretty high”, but noted a few faults in some entries – specifically either reduction or oxidation. “There were a number of wines that I noted reduction on,” he said. “One wine, it was a little too much – but in others it was there in sort of complexing levels.” He added: “Most of the wines were clean, showed fruit,” including a “sultana-y” note that he attributed to longer hang times.

“The reason I personally like merlot is because I feel like it doesn’t demand attention – it doesn’t try to steal the limelight on the table.”

The subject of faults and flaws lead to a discussion of Brettanomyces, which the panel saw in some of the wines. While some argued that this was a flaw, others found it could add an appealing savoury complexity to the wines: “In some of the wines, l could see having a charcuterie board with them,” Silva Prades Villela said. “They had that perfect ‘meaty’ note.”

Above: Tais Silva Prades Villela. Opposite: Serena Lee.

For Lee, merlot’s appeal lies in its undemanding nature, which makes it a natural foil for a wide range of food styles. “The reason I personally like merlot is because I feel like it doesn’t demand attention – it doesn’t try to steal the limelight on the table,” she said. “I used to work in Japanese fine dining, and I would try to find wines that actually can match with my cuisine – Asian cuisine and Asian spice.” For her, merlot can also act as a gateway to other, more demanding wine styles for guests who are not yet wine drinkers: “It’s just delicious. It will actually open their eyes – like, ‘Oh, actually, I like wine. I can enjoy wine.’”

Opposite: The panel in action. Above: All wines tasted ‘blind’, with palates cleansed thanks to Antipodes.

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