We gathered every example of Australian tempranillo that 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.
Our panel: Nikki Palun, owner and winemaker, Susuro; James Scarcebrook, owner and winemaker, Vino Intrepido; Tish Peppiat, sales representative, Primavera Selections; Sam Baxter, sommelier, Victor Churchill Melbourne; Sarah Robinson, sommelier, Cumulus Inc.; Luke Carlin, sommelier, Navi; Hayley Farquar, sommelier, City Wine Shop; Brook McGuinness, freelance sommelier.
This wine appeared in the top six wines of the day for Robinson, Carlin, McGuinness, Baxter, and Farquar. Robinson described “this wine takes a slightly more mature approach. I love how black fruits stand out – blackberry, black plums, elderberries and a healthy dose of raisins are present on the first whiff. And without the fruit being overripe, there’s a beautiful blackberry jamminess in the body of the wine. It goes hand in hand with the dried rose and black tea notes that emerge as you let the wine breathe, cutting through the richness and adding much needed structure. More cinnamon than star anise, the spice adds the last piece of the puzzle. A wine to relish for years to come.” Carlin noted “first I tried this wine. Then I tried it again. Then I tried it again. Then again. And again … Okay, so this was my top pick of the day, and for great reason. This is what we mean when we say ‘nero d’avola has potential’. This wine smells like sexy After-Eight chocolates, minty and laden with dark cacao. French Earl Grey tea follows, with bergamot and vanilla tones make this wine very very enticing. This wine felt very ethereal and almost ancient, like sage smoke and a witch’s cauldron, tannins were chalky and involved. This wine is screaming for some food or some age – but right now she’s alluring and she’s sophisticated.” Baxter found “this is the picture-perfect representation of the depth nero d’avola can bring. Plush blackcurrants, blackberries, and dried mulberries dance along a balsamic edge. The palate is rich and pithy, marked by fine, velvety tannins that subtly but fully wash upon the tongue, bewitching you with its black rose chewiness and deep, ripe blackcurrants. The length is strong and long, just begging for anything lamb or venison, or a ragù.”
Carlin, Palun, Farquar, and Peppiat selected this wine among their top six from the blind tasting. Carlin said, “this wine is incredibly fun – my first note was ‘sunshine in a bottle’. But honestly, it reminds me more of a humid day just before it’s about to rain – full of lovely boysenberry, juniper and Maraschino notes, with this almost petrichor-like minerality. This nero d’avola pushes a little closer to the syrah end of the spectrum, giving a little tapenade savouriness and a bitterness reminiscent of Fernet-Branca. Nero d’avola can be a little rock ’n’ roll – it’s great to see it escape from the gilded cages of the pristine Sicilian examples and into a grimier, freer style.” Palun called it “the perfect plus-one that you can take to every barbecue. Plush and juicy, with Red Ripperz, ripe raspberry and sweet plum tumbling into black cherry and pomegranate, clove and cinnamon spice running all the way through. Rich, luscious and infinitely moreish on the palate, with chalky tannins and bright acidity keep it all beautifully in check. This wine is so playful – yet has enough structure to make it genuinely interesting. Pair it with butterflied lamb on the grill, charred eggplant and zucchini in the sun, and a long afternoon.” Peppiat found “this playful, expressive nero d’avola opens with aromas of Red Ripperz lollies, Ribena, and crushed berries. The palate is all juicy, rolling red fruit. There’s a crunchy, vibrant acidity that keeps everything bright and refreshing. Not a textbook example of the varietal, but utterly delicious – pure, juicy, and dangerously easy to drink.”
Scarcebrook and Robinson both chose this wine for their top six wines from the tasting. Scarcebrook described “lifted and focused aromatics of blueberries and lavender, a hint of menthol as well. Very much stands out in the line-up – so inviting and playful. Mellow and soft, but light and not overly tannic, focused and fresh – the purple fruit profile is just so appealing. A Friday night wine.” Robinson said, “a more herbaceous take on a traditionally plump wine, this cooler-climate style of nero d’avola is a breath of fresh air. With its splash of garrigue, a healthy dose of carnation flower spice, and a small whiff of mint, there’s a beautiful alpine lift to this wine. Taking a step away from the ripe, unctuous style of Nero, it’s great to see a vigneron take an Australian approach by accentuating the invigorating acidity, the ripe red fruit and velvety tannins. Perfect for a table that wants mid-weight red wine that goes with red meat – I’d reach for this wine before reaching for a pinot/shiraz blend.”
McGuinness and Peppiat both included this wine in their top six picks from the blind tasting. McGuinness described it as “super juicy and flavourful, intensely berry-forward with bright, slightly tart strawberries and blackberries – the kind of thing that pairs beautifully with cheese and meat at the park. Fantastic acidity makes it a natural match for sauce-forward dishes. Silky mouthfeel, deep red colour, and elevated alcohol add weight and length with the presence of very light tannins. Conventional in style – an overall excellent and versatile juicy wine that, like Campari, can go with almost anything.” Peppiat said, “this nero d’avola opens with bright cherries and a touch of cracked black pepper, giving a lively and lifted nose. The palate follows with sour cherry and red crunchy berry flavours, carried by a juicy, savoury edge that keeps each sip refreshing. Light on its feet yet full of character, it’s vibrant, balanced, and effortlessly drinkable – a pure, honest expression of the grape’s spicy-fruited charm.”
Palun and Scarcebrook both selected this wine among their top six wines on the day. Palun described it as “one of those wines that commands attention without demanding it – the kind that has everyone at the table trying to work out what the variety is and then being surprised to find out that it is nero d’avola. Raspberry, cranberry and pomegranate fruit with real delicacy and precision, dried rose petal and lifted violet. Clove and cinnamon weave through with gentleness, the palate soft and rounded, juicy without richness or confection. Chalky tannins and finely tuned acidity give great structure, length and intriguing persistence.” Scarcebrook noted “nice deep purple blossom and blackberry fruits, just a hint of dark earth, massaged with some mature oak to add a subtle toastiness. Lovely palate – soft and juicy but not overly manipulated, still bright and fresh, very drinkable. A real-crowd pleaser that should appeal to everyone as it hits the brief with confidence, flavourful but not heavy. A Sunday afternoon wine.”
Farquar and Carlin chose this wine for their top six wines of the day. Farquar described “a lighter example of nero d’avola, but not lacking any depth. There are light crushed and dried florals of strawberry, rose, and a background of lavender on the nose. The palate is dominated with smoky raspberry and bright cranberry. The light tannic grip gives the wine a backbone – a nice contrast with the bright and flirty fruit character. The dusty character of the florals contrasts the bright fruit profile, adding a level of complexity to the wine. There is likely an element of carbonic maceration present in this wine, but it is balanced to allow for a depth of flavour. Any gamay or pinot noir drinker would be happy to have this in front of them, well paired with a rainy evening indoors and easy company.” Carlin noted “this is really cool – summer berries, blackcurrant-flavoured cough lollies, and black tea tannins. On the palate, these notes give way to a little sweetness that adds texture, and a liquorice or fennel-like herbaceous note, alongside a meaty touch of charcuterie. The tannins are woven beautifully throughout the wine, making it perfect for a slight chilling – perfect for a summer evening at a wine bar with friends.”
Scarcebrook chose this wine for his top six wines on the day, calling it “deep, dark, and bold – showing slightly earthy dark chocolate alongside blackcurrant and jasmine. I like the very subtle savoury earthy tones. Dense but fresh on the palate, soft but light. Plump and playful, with a hint of savouriness. Has some earthy maturity but not in an aggressive way – dried plums and figs. Uncomplicated but not simple, it has the darker fruits suited to the stereotypical Australian red-wine palate, without the big tannins and fruit weight that can potentially overwhelm food or have a soporific influence. This could easily work alongside shepherd’s pie after a pint on a Tuesday night.”
Peppiat selected this wine among her top six wines from the blind tasting, describing “bursts of blue fruits, juicy plums, and ripe cherries define this easy-drinking, joyful nero d’avola. The palate is lush and fruit-forward, full of playful energy and supple texture. It’s not a serious, brooding style – rather, it’s open, juicy, and immensely enjoyable, with just enough freshness to keep it lively. A bright, generous, feel-good expression that showcases nero d’avola’s more fun and approachable side.”
Farquar and McGuinness included this wine in their top six picks from the tasting. Farquar described “pretty and ruby-hued in the glass, this is a wine with personality – all orange pith, bramble, and fresh berries. A darker expression, which favours my palate, with green but ripe tannins. A distinct bramble and tomato leaf character on both the nose and the palate endeared me to this glass. Can I call a wine humid? If so, this wine is that. Wet leaves after rain on a warm night, green but not bitter. Blackcurrant, raspberry, and strawberries as the classic bright red fruit characters. As it lingered in the mouth, a cashew note became apparent. Duck with plum sauce would be the perfect pairing, or even just jam on toast for a cheeky midnight snack.” McGuinness noted “fruit-forward with ripe plum and pomegranate notes, complemented by herbal and peppery spice, especially on the nose. Moderate tannins provide structure without overpowering the fruit, while lively/fresh acidity and a rich, pleasing mouthfeel keep it balanced and warm – comfortable, even. Versatile at the table, this would pair especially well with hearty, red meat–forward dishes – but it’s equally very pleasant to have on its own.”
Farquar and Carlin chose this wine for their top six wines on the day. Farquar described “another pinot noir-esque example of nero d’avola, but with some darker characters. This wine shows the variety’s Sicilian heritage, with strong hints of rosemary on both the nose and palate. The nose is dominated by a bramble character, slightly stemmy and green, hinting at the use of whole-bunch fermentation. The fruit profile is darker, tending towards a plum jam on the nose, and blackberries, sour cherries, and stewed rhubarb on the palate. Both the tannin and the acid line are distinctly moderate, but present – a wine that can both stand up to food and not rip your face off. A lamb braise or a meaty pasta would pair very well with this, but there is more than enough complexity to enjoy it on its own.” Carlin noted “lots going on in this wine – it’s a quite serious example for such a new variety in Australia. We have a little bit of whole-bunch flavour coming through, adding a little Moroccan spice seasoning to the wine – you can smell the cumin, taste the chilli, and find the cinnamon. Bigger, plusher fruits on the palate, with a little gaminess to the flavour profile. Are we in the Northern Rhône? Are we drinking syrah? Could have fooled me – but this is definitely nero d’avola, and what an amazing example of it!”
Carlin and Baxter selected this wine – fermented in traditional Gujarati clay vessels called kothi – among their top six wines from the tasting. Carlin described “this is a wacky wine – but incredibly fun. Apple skin, pear, mandarins and grapefruit lead on the nose – aromatically this is on the lighter end of the spectrum, with incredible savoury herb highlights. The palate presents crunchy red fruits – think rhubarb, cherry and pomegranate – and a soft and balanced acidity, incredibly pleasant to drink. I’d pair this wine with Greek mezze, its beautiful freshness cutting through food’s richness and highlighting the soft herbaceous accents.” Baxter called it “a wine for the good times – a trusty companion for all festivities. A rainbow of ripe, crunchy berries – cranberry, raspberry, boysenberry, blackberry, accompanied by Damson Plum and a wild rose, tickled by rosemary and mountain pepper. The palate is bright, crunchy, and plummy, filled to the brim with lush fruit. This isn’t a wine for serious occasions. Take it to the cinema, to a friend’s house, or simply to your couch – fill your glass, and realise the rest of the bottle is gone.”
Baxter and Robinson both chose this wine for their top six wines of the day. Baxter described it as “a taste of the great outdoors. Vibrant blackberries and blackcurrants are nestled into a rich, earthy volcanic rock minerality, taking you to burning autumn leaves around a campfire, throwing another oak log on the roaring flame. The palate is plush, dark and charred, with charcoal tannins that warm the cheeks and a chewy, crunchy black finger grape skin finish that nourishes the soul. A bottle of this, good company, open flame, outdoors, campsite, kookaburras in the red gums. What a time to be alive.” Robinson said, “like nebbiolo’s less pedantic sister, this nero still has the classic pomegranate bite, but with an Australian twist. Think Granny Smith apple skin, red Christmas plums, and a line of sour cherry. This wine smells like Australiana in a glass – there’s a hint of bottle brush, wild honey and pressed lavender on the palate that lifts the wine, and adds a silkiness that goes down too easily. I’d drink this wine slightly chilled – it would be the perfect aperitif.”
Baxter selected this wine among his top six picks from the blind tasting, describing “this is the ultimate wine of contrasts – a beautiful Dr. Jekyll and Mr. Hyde moment in time. The nose is bursting with childhood nostalgia – Cherry Ripe, coconut husk, and salted caramel notes dance with memories of fighting through the bush to chew on red and black mulberries, smelling the black roses and mulberry flowers. Mr. Hyde crashes in on the palate – taut and warm, blushing with lush raspberries, red mulberries, and quandong, followed by a surprising plummy depth, rich smoky edge, gripping cedar tannins and a rich charcoal finish. As if starting sweet and finishing rustic and savoury. A powerful wine, built for pairing with barbecue, game sausage, blood pudding, or just a lamb roast.”
Peppiat chose this wine for her top six wines from the tasting, noting “a vibrant and seductive nero d’avola brimming with blue fruits – blueberry, plum, and a touch of boysenberry – that leap from the glass. The palate is juicy and energetic, with a subtle chalky texture that gives the wine shape and interest. Beautifully weighted and seamlessly balanced, it fills out on the mid-palate without ever feeling heavy. The finish is smooth, fresh, and moreish, inviting another sip. A modern, polished take on nero d’avola that’s all about texture, brightness, and drinkability.”
Baxter included this wine in his top six wines on the day, describing “a transplanted southern Italian gem, shining ruby in the glass. The bouquet leaps out with black rose, damson plum, black finger grapes and blackcurrants, carrying sunburnt black sand and smoked cacao. The palate is rich and full, fuelled by dark brooding fresh-cut blackcurrants, blackberries and both fresh and smoked mulberries, a warmth that runs along the tongue, fine-boned pithy black currant tannins, crunchy bright acidity that refreshes the palate and a driven, powerful finish that lasts long after the glass is done. A stylistic Sicilian done justice in its new home – perfect for the Chrissy barbecue, or with Greek or Turkish roasted meats.”
Scarcebrook selected this wine among his top six picks from the tasting, describing it as “the most complex of the line-up aromatically, showing blood plums and stewed rhubarb. Some dustiness and slightly stemmy lignified notes gives it almost a pot-pourri character. Quite solid on the palate – flavourful and juicy, with some decent, mature-feeeling tannins, not super heavy but definitely has concentration and personality. A bigger style for sure, but still balanced – mellow but not jube-y or heavy. A Saturday evening wine – best served with cheese.”
Palun chose this wine for her top six wines of the day, saying, “this Nero takes from you from entrée right through to dessert in just one glass. Cedar and warm mulled wine spices weave seamlessly around dark plum, ripe black cherry, boysenberry and liquorice. Fine acidity lifts the fruit, the oak adding structure without ever taking over. Dried thyme and dark chocolate linger through a long layered finish. A wine for that moment when the beef ragù has been cooking since the early morning, the smell filling every room in the house, and you pour a glass to enjoy your own private moment before the guests start to arrive.”
Scarcebrook included this wine in his top six wines from the blind tasting, describing it as “lovely and perfumed – slightly bruised strawberries and raspberries, dried floral notes, violets and roses, restrained but inviting. Light, juicy and quite dry on the palate – a bit earthy. Well balanced – very fresh and drinkable, with rounded tannins, but not too cloying or limp. Lingers on the palate. I really enjoy how expressive this wine is whilst remaining fresh and crunchy – it’s a food-friendly wine pizza or pasta, keep it simple, but one that is neither anonymous nor safe.”
McGuinness selected this wine among his top six wines from the tasting, saying, “soft, dark fruits – think overripe strawberries, blood plums and Christmas cherries – make this wine exceptionally pleasant and easy-drinking. Bright acidity keeps it lively. Stylistically, this occupies a comfortable middle ground – deep red in colour, with higher alcohol that adds length and a velvety viscosity that ensures this ride is not a short one. Overall, a very enjoyable nero d’avola that means business – and one that would pair beautifully with cured meats.”
Robinson chose this wine for her top six picks from the blind tasting, noting “with a nose that’s so dynamic, you can’t help but be intrigued by this wine. A deep earthiness, a nose-filling richness of blood plum and orange rind – it’s nothing but alluring. The mid-palate of orange rind and star anise add a layer of complexity that is pleasantly surprising, followed by a mouthfeel of red cherry acidity. Though the spice almost takes centre stage, the winemaker has done a superb job at capturing the beauty of nero d’avola – a push and pull between big, rich fruit, and biting structure. A delight to drink now – and it will be an absolute pleasure to drink in five years.”
Palun and Baxter included this wine in their top six wines on the day. Palun described it as “unspoken, unhurried and completely lovely. Soft cherry and fresh raspberry on the nose, Morello cherry and red berries, dried violets and rose petals floating just above the fruit. Smooth and juicy on the palate, generosity without richness or excess, gentle red fruit sweetness and warm spice building slowly through. Soft understated tannins, quietly persistent acidity, the finish long and subtle. It’s familiar, like a warm smile from across the room, the kind of wine that you keep going back for because you never want the night to end.” Baxter said, “warm your hands around this bad boy. The aromatic profile feels like noughties garage rock with an emo fringe – brooding dark plum, blackcurrant, blackberry, black finger grape, cedar wood and charcoal. The palate is juicy and plummy, layered with red earthen minerality, sandy volcanic fine tannins that evolve and unwind in the mouth like quilt, finishing relaxingly warm. A wine for the dead of winter, curled up with a good book, Netflix show or rich stew or hearty lamb.”
Palun selected this wine among her top six wines from the tasting, describing it as “a nero d’avola you open during the week and suddenly you are celebrating everything that’s great about life. Cranberry and raspberry, bright and energetic, followed by ripe mulberry and boysenberry, plus sumac and cinnamon adding warmth and intrigue without overpowering the fruit. Soft and inviting on the palate – the texture building slowly, grippy tannins giving real shape and depth, bright acidity keeping everything fresh and focused. This wine is all about pizza, pasta, and tomato-based sauces – perfect for sipping on the couch whilst binge-watching the latest series.”
Peppiat chose this wine for her top six picks, calling it “a refined and quietly expressive nero d’avola, showing delicate aromas of red cherry, raspberry, and dried rose. The palate is elegant and poised, with fine red fruit that unfolds gradually, revealing good length and balance. A subtle savoury undertone – hints of earth and spice –adds depth, while a fine, tart acidity gives the wine freshness and lift. The finish is clean, graceful, and gently mouthwatering, showcasing a more restrained, nuanced side of the variety.”
Carlin selected this wine among his top six wines of the day, saying, “we found it – a new pasta wine! Now I know sangiovese has often held the mantle of the ultimate pasta wine – but we’re in nero d’avola territory now, and God does it work. On the nose, mint chocolate chip, black plum skins with full tomato fleshiness and sage-like herbaceous highlights. The palate opens up to Nonna’s kitchen – her herbs, her pasta sauce, her warmth. Its amazing structure, with softer acidity, brings more images of Southern Italian food into the glass. I feel it in my bones – this wine makes me happy, and is so easy to drink.”
Scarcebrook and Robinson both chose this wine for their top six wines from the blind tasting. Scarcebrook described “more vibrant violets and candied cassis, focused in an almost sharp way aromatically, it somehow smells crunchy. Mouth-puckering acidity and freshness, initially seems light and tight but shows more tannin than I was expecting, decent length. The back of the palate is a touch rounder, possibly from some bottle age. A Wednesday night wine.” Robinson described it as, “red apple compote in a glass, tart with a touch of sweetness. Ripe raspberry and orange rind jump out, giving it a juicy, welcoming start. As they dissipate, sultry notes of clove and blackberry step into the limelight. Even though the fruit and acidity present first, there is still fine boned tannin guiding the wine on the palate. This wine is a beautiful mix between winding acidity and punchy juiciness, a perfect example of Australian nero d’avola.”
McGuinness included this wine in his top six picks from the tasting, describing “aromas of dried herbs and savoury spice layered over ripe pitted fruits – think cooked plums, black cherry, and dark berries – with a juicy, almost jammy core that remains fresh rather than cloying. Visually it presents as a clearer, lighter-styled red rather than an opaque, inky wine. The medium to high acidity gives brightness and lift that balances the fruit. The texture is notably silky and rounded, with a smooth, almost tactile mouthfeel, and moderate tannins that provide structure without harshness. This would be an excellent companion to richer, salt-cured flavours such as prosciutto, salami, smoked sausage – and definitely sliced tomatoes sprinkled with sea salt!”
Robinson selected this wine among her top six wines on the day, saying, “like the beginning of harvest season, the fruit profile of this wine is bright and heavily perfumed. There’s a strong presence of raspberry, red grapes and candied strawberry, with sharp menthol to cut through the sweetness. On the palate, the sweetness falls away to reveal some biting acidity and blood orange pithiness. Notes of blueberry and black plum sneak in, adding to the ripe bouquet, but also giving the wine a firm structure. Soft tannins grip the back of the palate gently, adding weight and backbone to support all that supple fruit. From ripe bouquet to a grounded ending, this is a perfect wine for a cool Autumn evening.”
McGuinness included this wine in his top six wines from the tasting, describing it as “a lighter-coloured red in the glass. This is a rich and juicy traditionally-styled nero d’avola, with a focus on bright red plums and mulberries. The nose and palate is clean and straightforward, conventional in its style, with moderate alcohol – an approachable wine, although the grassy pyridine note that emerges on the finish might not appeal to everyone. Lively acidity complements fat-forward dishes such as cheeses, cured meats or even a butter-heavy ragù. I can see myself having three bottles of this with friends after dinner – and imagine the inappropriate conversations that would ensue!”
Farquar selected this wine among her top six picks from the blind tasting, saying, “as much as I hesitate to use this word, I can only describe the fruit character here as ‘sweet’. For clarity, this is a bone-dry expression without a hint of residual sugar in the glass – but the fruit character and the acidity give the impression of something ripe, juicy, and, well, sweet. The palate is pretty and lifted, with summer florals, dried strawberries, and a tree sap character. The nose is all classic carbonic maceration notes – raspberries, red cherries, and redcurrant. The acid line is almost chewy, and the tannins act as a balancing counterpoint. An interesting wine – one best paired with a light cured meat.”
Palun included this wine in her top six wines of the day, saying, “this nero d’avola is all about leaving work early and heading out for an indulgent long lunch. Fresh raspberry and ripe red cherry on the nose, confectioned sweetness, violet and rose petal, a whisper of ash and dried herbs threading through the fruit. Bright fresh acidity and chalky fine tannins give the wine real elegance and shape. It’s light, fresh and utterly delicious – the kind of wine that helps turn an ordinary Tuesday into something unexpected and wickedly delightful.”
Peppiat chose this wine for her top six wines of the day, saying it “wears its savoury side with swagger – think charcuterie boards in the sun, all smoky cured meats and cracked pepper alongside bright red berries. The palate is rustic in the best possible way, with plump cherries and raspberries wrapped in a dusty, earthy warmth that feels honest and unpolished. It’s juicy yet grounded, a wine with soul and texture – like pulling up a chair at a long wooden table and settling in for good conversation. Beautifully raw, savoury, and irresistibly moreish.”
Many of Italy’s native grapes are thought to have come to the country via the south, having filtered across from Greece – finding their best territory over time, and adapting and mutating along the way. Some proliferated in the sunny south, and others found refuge in the mountains and further north, while many remain scattered throughout. Despite this history of viticultural migration, though, the leading southern red-wine varieties are almost exclusively grown in their own regions, barely – if at all – migrating across modern political borders to their close neighbours. Thus gaglioppo mostly remains in Calabria, negroamaro and primitivo in Puglia, and nero d’avola in Sicily (aglianico, which straddles both Campania and Basilicata, serves as the exception that proves the rule). By contrast, the wines from the middle and north of the Italian ‘boot’ – such as sangiovese, barbera, and montepulciano – have spread far more promiscuously.
Even by the parochial standards of southern Italian red-wine varieties, nero d’avola has not travelled far within Italy – its likely home province of Sicily currently accounts for 98% of Italy’s plantings. Literally translated, the grape’s name means “black from Avola”, a town in the province of Syracuse in Sicily’s south-east. So, a black grape from a town about as far from the rest of Italy as possible – but oddly the grape is officially known within by the name ‘calabrese’, pinning it to Calabria, the toe of the ‘boot’, where it is barely present. While it might not be racking up the domestic frequent-flier miles, it has made quite a splash in Australia, rapidly establishing itself as a leading candidate for climate-apt viticulture across Australia’s warmer regions.
While its ultimate origin remains a mystery, nero d’avola has become perfectly suited to local conditions within Sicily, since it can tolerate heat stress like few – if any – other varieties. Its vulnerability, perhaps, is that it has relatively thin skins, making it more susceptible to disease pressure during the growing season. But this is also an adaptation to its prime territory – where abundant sunshine, generally dry conditions, and maritime breezes often negate that pressure. Those thinner skins also avoid a gruffness of tannins, which the hot southern sun would otherwise only enhance. Unlike many other southern Italian red varieties such as primitivo and negroamaro, which can yield intensely powerful wines, nero d’avola typically turns out mid-weight ones. It’s highly responsive to location, with the fruit flavours markedly affected by the soil and growing conditions, and it’s very capable of expressing the mineral characters of site. Notes of wild raspberry and cherries are quite common, often with earthy, tarry accents and scents of wild herbs. When grown on lighter, sandier soils, nero d’avola can be very aromatic and quite pretty, while sensitive winemaking methods can also help to accent lifted floral notes and fine red fruit notes such as pomegranate.
Given its suitability to the island, it shouldn’t be surprising that nero d’avola is currently Sicily’s most important red grape variety, comprising roughly 16.4% of the island’s 119,250 hectares of vines. Historically, it has been the workhorse of the island, being a reliable producer of reasonably large volumes of agreeable red. Despite their relative lack of heft, those wines historically had enough fruit character and colour for nero d’avola wines to be a useful blending tool for wine negociants in Tuscany, Piedmont, and even as far away as Languedoc in southern France, where it would strengthen lighter wines that needed a touch more muscle. Even within Sicily, it was traditionally used as a blending component – most famously paired with the delicate, pretty, and berry-scented frappato variety to make Cerasuolo di Vittoria – Sicily’s only wine to be elevated to the vaunted category of DOCG. More modern interpretations of this idea even see nero d’avola blended with locally grown cabernet sauvignon and merlot.
Nero d’avola stepped out of the shadows and asserted itself as a varietal wine in the mid to late 1990s. By this stage, the Italian wine industry had undergone a profound change, repositioning itself across the second half of the twentieth century away from its former reputation as a producer of cheap and cheerful jug wines. (These wines often lacked depth and concentration owing to viticulture that prioritised grape quantity over wine quality.) As a global market developed for more concentrated and higher-quality Italian red wines – starting with the ‘super-Tuscan’ phenomenon of the 1970s – Sicilian producers began to make richer, denser wines from nero d’avola, and labelled them as such. These more broad-shouldered examples of nero d’avola, pushed to full concentration and ripeness, became popular supermarket wines in the UK market towards the end of the 1990s. As it gets riper, the variety’s darker, tarry notes become more prominent, while the prettier red fruits recede, with dark plum and black cherry emerging – making it an appealing proposition for a country of drinkers in love with decadent Australian shirazes and Argentinian malbec. But while these bolder styles of nero d’avola can still be found in Sicily, the pendulum has begun to swing back to favour more nuanced, medium-weight renditions such as those made by iconic Sicilian producer COS that work with, rather than against, the variety’s inherent freshness.
Over its 200-odd year history, Australia has primarily relied on classic noble grape varieties to drive the industry, most of them French. Shiraz, cabernet, semillon, chardonnay, grenache and riesling have been the mainstays, with Italian grapes not really featuring until the end of the twentieth century – which is perhaps surprising, given the level of post-war immigration from Italy. Typically, those new arrivals responded to what was around them, with farmers growing what was successful, whether it be vegetables, tobacco or the available grapes, for wine or the table. They adapted. It wasn’t generally until a little later that some of those home-country traditions were recreated more fully, with areas like the King Valley pivoting from tobacco farming to becoming grape-growing centres. And although some of the more familiar Italian names – like nebbiolo, sangiovese and barbera – got an earlier start, it wasn’t until an ambitious project by the Chalmers family to import a raft of vines that a serious exploration of Italian grape varieties began in earnest.
Much of Bruce Chalmers’ motivation was to find both varieties and clones that would perform in Australia’s wildly diverse regions, perhaps eclipsing the incumbent – and rather narrow – selection of varieties over time. In the late 1990s, in partnership with Italian nurseries Vivai Cooperativi Rauscedo and Gruppo Matura, and with the assistance of viticultural experts Dr. Rod Bonfiglioli and Dr. Alberto Antonini, the Chalmers family brought the first of many tranches of Italian vines to Australia. In the early 2000s, once they were out of quarantine, these vines were planted straight into the Chalmers’ family vineyard in the Murray Darling region (then located at Euston in New South Wales, since relocated across the border to Merbein) and propagated from there. Nero d’avola was imported in that first batch of vines – along with other key varieties landing for the first time, such as aglianico and sagrantino. Chalmers’s first commercial nero d’avola wine was made from fruit from Euston in 2009, with 2011 seeing the first release from their Heathcote vineyard.
“I feel like it’s off to a better start than nebbiolo or sangiovese, because the early nero d‘avola wines are making more sense straight up.”
While the Chalmers family were pursuing their own investigations into making wine from the grape, they were also selling vines around Australia, with Brown Brothers becoming the first customer (that stock went to one of their Heathcote vineyards) in 2006. By 2008, vines had been planted in the Riverland, Riverina, Barossa Valley, McLaren Vale and Queensland’s Granite Belt, while cuttings were being held in quarantine in Western Australia. Today, there are over fifty vineyards with nero d’avola in the ground in Australia. All of those vines were propagated from the one clone, which was selected for Chalmers by Dr Antonini from a vineyard in Vittoria, Sicily (the home of Cersauolo di Vittoria). And while Kim Chalmers – Bruce’s daughter and the family’s current Wine Operations Manager – admits that mono-clonality is not ideal, she believes that even without that diversity of material, nero d’avola has established its identity here rapidly and decisively. “I feel like it’s off to a better start than nebbiolo or sangiovese,” she says, “because the early nero [d’avola] wines are making more sense straight up. We are smarter in our approach now – not just trying to make everything like shiraz, actually letting the grape speak, which nero is doing well across the board.”
Ashley Ratcliff of Ricca Terra in South Australia’s Riverland was an early adopter of nero d’avola, planting it originally with the sole motivation of coping with the long-running drought in the first decade of this century. What was originally almost an act of desperation returned surprising results – with the quality and character of the fruit beyond his expectations. “We now use about half the water of more traditional varieties,” says Ratcliff. “When I first started growing nero, we used to use classic methods to increase quality by reducing yields through shoot thinning and bunch thinning … but stressing the vines by reducing irrigation prior to flowering ‘shatters’ the bunches, with flowers dropping off, meaning you get less berries per bunch with clusters more open for airflow, and your yields are lower.”
Ratcliff says this kind of “shatter” is something that viticulturists would normally despair at, but it’s an adaptive response to a variety with tightly packed bunches – which means that any rot issues close to harvest due to rain events are avoided, plus the crop load is balanced for production of quality wine. In the case of nero d’avola, it showed that reducing the water used in irrigation was not just possible – but best practice. This, in turn, makes it a variety that seems especially well suited to low-rainfall, irrigation-dependent regions, such as those that hug the Murray River. Ratcliff stresses that the warmer climate also helps nero d’avola fruit to develop properly on the vine: “It’s a variety that needs the heat,” he says. “Not necessarily as hot as the Riverland – it could be the Barossa or McLaren Vale – but I think it needs that heat to properly ripen the tannins.”
“It’s a variety that needs the heat. Not necessarily as hot as the Riverland – it could be the Barossa or McLaren Vale – but I think it needs that heat to properly ripen the tannins.”
Ansel Ashby of Pare – who formerly made nero d’avola wines under his previous Gatch label – argues that nero d’avola is not just adapted to the heat, but genuinely relishes it. “It’s counter-intuitive, but you’re actually able to pick later, but with less alcohol and higher acidity than somewhere cooler,” he says. “And it develops some quite surprising characters from a place as warm as the Riverland, in that you can still retain this really lovely bright, fresh fruit. And when you have a really hot year, it can survive it better. It can take those eight-day-long forty-degree heatwaves, and the variety is actually tolerant of that.”
While nero d’avola has found itself in many of Australia’s warmer regions, it seems particularly well-suited to McLaren Vale, where it easily retains vibrancy and freshness. “Nero is certainly a late ripener,” says Andy Coppard of McLaren Vale’s Lino Ramble, a label that specialises in alternative varieties. “You’re able to let it hang on the vine to get the acid to drop a bit, but the flavour and sugar won’t move much. Unlike shiraz, which quickly gets baked and jammy and then you need to add acid back. You don’t need to add anything to nero. It’s lazy winemaking at its best.” (It’s perhaps appropriate, then, that the region’s first nero d’avola vines were grafted over the top of existing shiraz vines at the Omensetter vineyard by Brad Hickey of Brash Higgins.)
It’s not just this innate freshness and climate suitability that has seen the variety gather so much steam since its introduction to Australia. Coppard also argues that nero d’avola is a brilliant transmitter of terroir, showing a strong imprint of where it has been grown: “To talk about terroir, when you look at McLaren Vale compared to the southern coast of Sicily,” he says. “We’ve got almost identical conditions for climate and rainfall, but our geology is completely different. Sicily’s volcanic soils are some of the most fertile you’ll ever see. Here, we have some of the most ancient, depleted soils where we need to build up organic matter, so while grapes like nero and grillo are perfectly suited, our flavour profiles are so different.” While the variety may have excited viticulturists for its capacity to endure harsh conditions without irrigation, that ability to transmit a sense of place has seen the variety develop a consumer following that is far more interested in its quality in the glass.
“To talk about terroir, when you look at McLaren Vale compared to the southern coast of Sicily. We’ve got almost identical conditions for climate and rainfall, but our geology is completely different.”
When the variety was first introduced to the Australian Alternative Varieties show, in 2012, there were only eight entries. Since then, wines made from the variety have had to be split into two separate classes for the show – one for young wines and one for older ones – such has been the volume of growth. Nero d’avola has therefore cemented its place as a variety that we will be seeing a lot more of in this country, with characterful and distinctive expressions abounding. It’s also a variety that is producing wines of abundant flavour, but ones that are well suited to the tastes of a drinking public that are increasingly interested in elegantly weighted wines. “It makes sense viticulturally in a lot of the drier warmer areas, using about half the water of other varieties,” says Kim Chalmers. “It responds to the different soil types clearly in the wine. It is generally moderate in alcohol, without adding water, bleeding off juice, et cetera.” She adds: “To me, it makes way more sense to grow the grape that does what we are trying to do than to manipulate the winemaking to get a result with a grape that is clearly not as happy in its environment.”
Our panel: Nikki Palun, owner and winemaker, Susuro; James Scarcebrook, owner and winemaker, Vino Intrepido; Tish Peppiat, sales representative, Primavera Selections; Sam Baxter, sommelier, Victor Churchill; Sarah Robinson, sommelier, Cumulus Inc.; Luke Carlin, sommelier, Navi; Hayley Farquar, sommelier, City Wine Shop; Brook McGuinness, freelance sommelier.
Baxter kicked off the discussion by noting that the sheer quantity of wines in the lineup was itself a remarkable fact. “For a grape variety that’s only been in Australia for twenty-six or so years, the fact that there are so many wines today is wild,” he said. “It’s just burst onto the scene. Ten years ago, outside of Chalmers, hardly anyone was making nero d’avola. And now look at it.”
Peppiat agreed, and argued that there was an impressive range of wines in the line-up. “There’s diversity here, in a really good way,” she said. “You can see differences, but you can also see clearly what the grape variety is. It’s not like this could be anything, this could be that – there’s a clear line through, even with the nuances.” She added, “I think they’re quite versatile and approachable – you’ve got that juicy fruit that’s really moreish and approachable, but then it does have body and length for those more old-school Aussie red wine drinkers who want a bit more heft.”
“There’s diversity here, in a really good way. You can see differences, but you can also see clearly what the grape variety is – there’s a clear line through, even with the nuances.”
Scarcebrook observed a change in the number of different styles of nero d’avola wines available on the Australian marketplace since our last Deep Dive on the topic two years ago. “My perception of the last tasting was that there was a little bit more – maybe even a lot more – similarity, stylistically speaking,” he said. “You could see a little bit of regional diversity, to some extent, but the general expression for nero d’avola back then was the lighter, fresher style. And that’s potentially because people may have been getting nero d’avola wrong even earlier on, when they were trying to make a bolder, more structured style.” He argued that the pendulum seemed to be swinging back slightly towards richer styles: “I was actually surprised to see more of those bolder, more structured styles today, and the quality being quite good,” he said. “That’s potentially owing to more vine age, and potentially owing to more experience with the variety … what I’m really happy about is that the fruit ripeness is really good, in general. There were some examples where it was a bit underripe, sometimes a bit overripe – but I think that we’re hitting that sweet spot a little bit better.” He added, “I think that producers are starting to understand what nero d’avola does well – and what, ultimately, the consumer is looking for from a nero d’avola.”
Farquar likewise thought that the wines on display were, in general, very consumer-friendly. “Nero d’avola is quite an easy name to pronounce – it’s a handful of letters,” she said. “It sounds approachable, and I think it is approachable, as we’ve seen.” She added: “It is still an alternative variety, but we do see its popularity rising. Victorians especially want to drink a lighter red – I think they want to drink something with personality, but I don’t think they love tannin, I think it’s more acid-focused. And nero d’avola really ticks all of those boxes.”
“I think that producers are starting to understand what nero d’avola does well – and what, ultimately, the consumer is looking for from a nero d’avola.”
Carlin argued that nero d’avola also benefited from the fact that it’s specifically a Sicilian variety. “There has been a real interest in Sicily recently – quite a lot of people visiting,” he said. “So people are seeing nero d’avola as a Sicilian variety, specifically. And if they’ve been exposed to Sicilian examples while travelling, they’re more likely to be up for trying different examples and different styles of this Sicilian variety made in Australia. And it’s approachable in price.”
McGuinness argued that the variety’s viticultural virtues were also part of its appeal to consumers. “The Australian consumer is a very socially aware consumer,” he said. “If we’re talking about climate change, the fact that this literally adheres to the Australian climate – in Sicily, it’s a hot, Mediterranean climate, and in Australia, we’re going through multiple La Niñas and El Niños, we’re seeing our climate change, and guess what fits?”
“In Sicily, it’s a hot, Mediterranean climate, and in Australia, we’re going through multiple La Niñas and El Niños, we’re seeing our climate change, and guess what fits?”
Robinson saw the variety’s suitability to changing climate and its inherently lower costs of production as a win-win scenario for everyone involved. “It’s great for everyone, from beginning to end,” she said. “Winemakers and grape-growers aren’t spending a whole bunch of money on irrigation. The people in the middle, somms and so on, can say, ‘I’m really excited about how great this variety is doing inside Australia and how many different styles of wine there are’. And consumers can see that there are examples of these wines from a number of producers they trust, and they can get start to understand that this producer does it a little lighter, while that producer makes it a little richer. And with everyone doing their part, consumers will be able to eventually say, ‘You know what? I don’t really know all about nero d’avola, but I can spend $30 on a bottle and trust that it’s probably going to be good’.”
Baxter argued that while the overall quality of wine was high, the line-up showed that the variety was not frequently being used as the basis of more ambitious (and perhaps challenging) wines. “Because it’s such a giving variety, and because it’s quite easy, relatively, to make a decent wine, not many producers are trying to push it to its upper limit,” he said. “No-one’s doing big extractions. No-one’s really doing a bit of oak behind it. No-one’s trying to take it really seriously as a variety, which I think is such a disappointment and so sad to see – because it has so much potential. It’s similar to gamay in that regard – it has so much potential for serious wines, but no-one wants to make that style of wine with it.”
Palun countered that there was no reason to imagine that Australia will not see more serious, premium examples of the variety in future. “When I first started making a nero, I felt like it was a boring wine,” she said. “That was what my thoughts were – it’s like halfway a between a pinot and a shiraz, right? But then I realised that nero can be quite serious. It’s almost like merlot. Merlot is like, ‘Eww, we don’t drink merlot any more, no-one drinks merlot’ – but then you’ve got Petrus, you’ve got these absolutely beautiful merlot expressions. And I think nero can be the same.”
“To me, it’s like a party girl. She’s not very serious, right? But you can make the wine beautiful through some clever winemaking – just treat it nicely.”
She added, “If you make the wine in the same way as you make any other premium wine, it has a beautiful expression of texture and depth. I find with nero – because it can be quite short – if you press it super hard, and then you get this lovely spiciness, this exotic sort of Christmas spice, and this beautiful bitterness. I saw a few wines that had that bitterness today, which I quite liked, because, to me, it gives that length that nero doesn’t typically have.” She concluded: “To me, it’s like a party girl. She’s not very serious, right? But you can make the wine beautiful through some clever winemaking – just treat it nicely.”
Nikki Palun grew up making garage wine with her parents in Melbourne after her father converted their backyard into a mini vineyard. She went on to work at De Bortoli Wines in export, building their Asia-Pacific, Middle East and African distribution networks, while studying winemaking and viticulture at Charles Sturt University and gaining her Wine & Spirit Education Trust (WSET) Level 3 Award in Wines. In 2014, Nikki founded Susuro Wines, making wine under two labels – Octtava, focused on classic varieties, and Susuro, specialising in Italian varieties, sourcing fruit from organic and premium vineyards. She oversees every aspect of the business herself, from winemaking and production to label design, sales, marketing and distribution. She also speaks Mandarin, and has served on wine industry boards and committees including Wine Victoria and Australian Grape & Wine.
James Scarcebrook graduated from The University of Adelaide with a Masters in Wine Business before a sixteen-month global wine adventure saw him visit ten wine-producing countries, including working two vintages in Germany. Since then, he has worked in fine-wine retail, as a representative for two leading importers, (both with a focus on Italian wines), and now makes wine full-time under his Vino Intrepido label. That label is centred on Italian varieties and a quest for finding Victorian sites where they excel, teased out in a way that reflects Italian tradition as seen through a new lens.
It’s no wonder that Sam Baxter fell into the sommelier lifestyle – between his childhood spent in WA’s Swan Valley and his priestly grandfathers secretly passing him sips of Port, it was a done deal. He found his love for wine working at a wine merchant in the UK, and once back in Perth decided to pursue a career in wine. Since moving to Melbourne, he has become a familiar face to the CBD’s diners, popping bottles at Hazel, Coda, Rockpool and Maha. You can find him slinging bottles and premium steaks at Victor Churchill Melbourne in Armadale.
Sarah Robinson grew up in beautiful Aotearoa New Zealand before moving to Melbourne in 2023. With a passion for hospitality and a deep love for wine, she’s worked through pubs and restaurants around Melboume until finally settling at Cumulus Inc. on Flinders Lane. Here she works as a sommelier, guiding guests through food and wine of provenance.
After working in bars and restaurants in Scotland for seven years, Luke Carlin came to Australia where he started working at Yarraville’s Bar Romanée and two-hatted restaurant Navi as a senior bartender. While at Navi and Romanée he worked up through to the Wine & Spirit Education Trust (WSET) Level 3 Award in Wines, and he has since commenced study for the Level 4 Diploma in Wines. He has since left the bar and now works as junior Sommelier under Bonnie Spain at Navi, whose wine list was recently awarded three glasses at the Australian Wine List of the Year Awards.
Hayley Farquar currently works as a bar supervisor and wine merchant at City Wine Shop and The European. She possesses an Introductory Sommelier Certificate from the Court of Master Sommeliers, and is currently working towards her Level 3 Award in Wines from the Wine and Spirits Education Trust.
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