The Sommelier: Your Sherpa of Value

Ask your local sommelier for a wine recommendation and you’re likely to get a suggestion for some obscure, enamel stripping high acid low alcohol wine from France or a place you haven’t heard of, right? At least, that’s what wine critics at big name wine publications would have you believe.

It’s not like there isn’t truth to that stereotype. A good sommelier won’t do those things. However, an average or below average sommelier will perpetuate the stereotype and get you to drink something they like to drink along those lines—not that you’d like it. The good somms, especially Master Sommeliers have evolved and will steer you to a wine you will like without making you feel silly. If you want Silver Oak with your halibut and that makes you happy, so be it.

There’s friction between the sommelier community and major wine publications (and their reviewers). On one side, the sommelier is perceived as a snooty know-it-all who turns their nose up at any wine over 14% alcohol made with new oak. On the other side, the wine critic representing a pay-to-play business who’s lifeblood is advertising dollars from major wine conglomerates who just happen to end up gracing a majority of the Top 100 list each year. Coincidence?

Knowing who to trust for wine recommendations isn’t hard. Not one other person can possibly know what you as an individual likes to drink. The best wine for you is the wine you like.

Let’s look at the motivation behind wine publication recommendations. First, it’s important to note wine publications are a business motivated by the almighty dollar. Wine critics cover a region regurgitating the same content (worded differently) over and over in an effort to fill pages of a magazine that’s 50% advertising. “Chewy dense tannins and refined oak”… Sound familiar? The wine critic is not trained to follow any industry standard nor do they have any accreditation—it’s just their opinion. Anyone can give an expensive wine a high rating, especially if the producer is an advertiser. Expensive wines aren’t hard to figure out—someone at your table is bound to like it.

The sommelier is motivated by….well, now let’s look at that. It’s not money. Sommeliers are motivated by something entirely different. The sommelier fights for artists. Small, independent producers with no advertising dollars who happen to make great wines need a champion, and that champion works the floor at finer restaurants. 

The sommelier is more of a filter of typicity. Each grape is supposed to taste like something specific. Merlot has a benchmark. Chardonnay has a benchmark. Riesling has a benchmark. When a winemaker hits the bullseye of what the grape is supposed to be, from the place its grown it gets closer to the center of that grape’s typicity. Often times those producers are relatively unknown from places you wouldn’t think to look. And yes, sometimes the best examples of typicity are lower alcohol wines with less oak. Not always, but often.

Anyone can oak the crap out of a wine and get points. Too much oak usually means higher prices and higher scores. But not necessarily recommendations from sommeliers as the wine loses its typicity. Take the 2009 Chateau Monbousquet from the right bank in Bordeaux for example. Robert Parker gave the wine 95 points. But smell the wine and it neither smells like Merlot, nor does it smell like the place its grown . It smells like a lot of crazy wine making techniques. Some wine lovers and collectors like that, which is fine. But the typicity of the grape is way off.


At the end of the day, sommeliers are value shoppers. They’re constantly trying to find the best examples of typicity for each grape at the best possible price, no matter the region. You might get some unexpected recommendations from regions you didn’t expect, such as Domaine Skouras Megas Oenos from Greece ($25 retail) or Graci Etna Rosso ($26 retail). If you like Cabernet based wines from Bordeaux, you might like the Skouras. If you like Pinot Noir, you might like the Etna Rosso.

Aside from typicity, the sommelier is also looking for structure. If you were to make a movie, you’d have a “good guy” and a “bad guy”. The tension between good and bad creates drama. All the supporting cast adds to the story and makes the drama more intriguing. A wine has tension between sugar and acid. They are the main building blocks to the story. Drama between the two makes the wine interesting. All all the additional flavors serve as a  supporting cast. 

Wines with impeccable balance between sugar and acid are wines you’d probably hear as a suggestion from your sommelier. It’s like a friend recommending a good movie. A sommelier is likely to recommend “Forrest Gump” to you while a wine publication is motivated to recommend “Transformers” to you.

If you cross paths with a sommelier who isn’t listening to you and just wants to recommend a wine they like, they’re doing it wrong. Call them out on it. If they listen to you and your likes, then steer you to something they think you’ll like based on what you described, you probably have a good sherpa of value.