Gauthier, London, 2019

The set-up for the BST festival is a shambles. Weaving our way past the pissed groups of girls here to sing away their heartbreak to Florence and her Machine, over the blanket-marked territories of young families far too in-field for nappy changes, we find ourselves at Hyde Park border control some 100m away from the stage. From here we can see the barren gap of high-vis jackets keeping us, the fans, from the front pit containing, err, not many people at all. That pit, we would find out, is made-up of those who were first through the doors, those who paid a chunk more for the privilege, and those whose careers amount to posting pictures on Instagram as ‘collabs’. I don’t like those who are in it for the ‘gram: the free-loading, waste of perfectly good oxygen, self-entitled jizz stains who think that posting an over structured picture twice a day surmounts to a career. It doesn’t. We reach these barriers as the last of Lykke Li’s ‘I Follow Rivers’ chimes out, as a swarm of flailing arms knock the life out of my six quid pint of beer. If only security hadn’t been so quick to spot the Hubble telescope I tried to sneak in I may have been able to get a view of her. We’re here for The National, a band we follow around far too often. They are as glorious as ever; deft and slow burning, with melodies that creep up on the subconscious over hundreds of listens. We find that we are stood in a community of like-minded people who sway and gently sing the lyrics to each song. It’s a moment that not even BST’s pathetic segregation can ruin; The National are as astonishingly good as ever.

We combined this with a restaurant whose tables I have sat at the same amount of times I have seen The National. I have been coming to Gauthier for many years, the first almost ten years ago to the day when my mate Barry and I were in the capital to watch Kings of Leon at a pre-barrier BST. That day our train was late and we never had time to change, meaning that I was in torn jeans and Barry was wearing a vest with a cardigan and dusty pink tapered trousers that sat around the rim of his buttocks and showed his boxers off. The dining room was a staid affair; there were many business meetings going on that all bore witness to Barry Joseph’s stout arse grazing over their shoulders as he walked to and from the loo. If I remember correctly, the two of us got stuck into a lot of burgundy and I barely remember leaving the restaurant, nevermind the gig. My further visits have all been under the guise of happy relationships. They worked, temporarily at least like a bookies pen, helped out by the most romantic of dining rooms, headed up by a front of house team who could polish the most tired of couples into something gleaming for a couple of hours. When we received a voucher for lunch after purchasing a case of rosé from their inhouse wine business, it became clear that it would be the ideal place to eat before the gig. And what a good decision it was: Gauthier was as astonishingly good as ever.

Somethings have changed since the last visit. My view across the table is now different, though more importantly chef patron, Alexis Gauthier, has gone vegan. It’s a move that can be felt even when not eating from the vegan menu given that the nibbles, amuses, pre-desserts, and canapes are all animal and dairy free. We start with a jar of ‘faux gras’ to share between two with a piece of bread each to spread upon. The pâté is a dense mix of mushrooms, walnuts, beetroot, garlic and onions; rich, earthy, and dare I say it, meaty. We have the recipe to make at home.  This is followed by capanota with bread crumbs. The stewed vegetables, consisting mostly of aubergine and peppers, are quite high on vinegar which is pleasing and stops the mouthfuls from being too rich this early on. The breadcrumbs are inspired. It is a very good start. I over order on bread, taking a raisin roll, tomato roll, and cube of basil foccacia. Whilst I don’t care for the tomato bread, or the butter it is served with, I would go back for more of the other two.

Claire has bavette for her starter, the core of the beef the colour of the Merlot paired with it. The meat is on a slab of brioche, with tapenade and pesto; a kind of open steak sandwich that draws purrs from across the table. I go for the summer truffle risotto because I’ve had it before and there was never any chance that I was ordering anything else. Truffles in Europe generally don’t taste of much this time of year (Australian is an entirely different beast), though these are of good quality; perfumed and not too woody in texture. The risotto is superb, light from more mascarpone than parmesan, the grains loose and with even texture. The meat jus around the peripherals adds another layer of flavour. It’s pretty special.

Both mains contain real ‘wow’ moments. A lamb dish has loin cooked to the ideal medium, slow braised shoulder, carrots, and broccoli. We get a little giddy over the heavily reduced sauce which is meaty without overpowering, and tear up over the black garlic gnocchi. This is the reason black garlic is made; to sit within fluffy pillows of flour and potato and load up the umami in tiny steps, not one big crash. Opposite me is cod poached in olive oil and thyme, lightly cooked until the flakes start to part ways on their own accord. There are morels and something called ‘salty fingers’ which is what I used to give to dates in the cinema during my teenage years. The star this time is the fish veloute; lightly licked with acidity and bursting with the taste of the ocean, it holds everything in place, linking the protein, the earthy notes and the salty verdant.

A pre dessert of lemon granita with peaches is contained within a meringue-like structure made from chickpea water, which I decided I would hate before I ate it and then really enjoyed. It made me think that I could come back here and try the vegan tasting menu, until I considered that would mean no truffle risotto or no Louis XV dessert. The latter of those was the choice for both of us to finish lunch, given that I insisted on it. The Louis XV is one of the great desserts, born in Ducasse’s 3* Monaco dining room. It is a posh kit kat with layers of mousse, feuillantine, and dacquoise, which are culinary terms and not Arsenal’s front three next season. It eats like a dream, indulgent and complex. The table next to use are celebrating: “the problem with that dessert is that there is never enough” they tell us between ordering more champagne. They are not wrong.

What I don’t like are the vegan petit fours, because a cake without dairy is just a stodgy clump of sadness. None of this matters though; this was a very impressive lunch in a restaurant I continue to hold in high regard. The bill for the above with two glasses of champagne, four glasses of wine, two ports, and a couple of dish supplements is just over £150 – a steal given the quality. Gauthier is one of London’s top kitchens. I hope to still be coming back in a further ten years time.

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