News from Richard Kershaw Wines in Elgin is that some of its wines showed exceptionally well in a benchmark tasting held in the Netherlands recently. Winemaker Kershaw paired up with Job de Swart MW for the so-called Judgement of Amsterdam to showcase top Chardonnays from around the world. 50+ wine professionals were invited to judge, including Weinakademiker, Dutch Sommeliers Guild members and journalists. The following wines were tasted:
1. Piuze, Chablis Grand Cru, Bougros 2015 (FR)
2. Château Montelena, Napa Valley, Chardonnay 2014 (US)
3. Richard Kershaw, Elgin, Selection, Chardonnay 2016 (SA)
4. Ramey, Russian River Valley, Ritchie Vineyard 2014 (US)
5. Isole e Olena, Toscana, Chardonnay 2016 (IT)
6. Jean Chartron, Meursault, Les Pierres 2015 (FR)
7. Dry River, Martinborough, Chardonnay 2017 (NZ)
8. Ocean Eight, Mornington Peninsula, Verve, Chardonnay 2015 (AUS)
9. Bernhard Huber, Baden, Alte Reben, Chardonnay 2015 (GER)
10. Sylvain Langoureau, Puligny-Montrachet 1er cru, La Garenne 2016 (FR)
11. Clos d’Opleeuw, Haspengouw, Chardonnay 2016 (BEL)
12. Kershaw, Elgin, Deconstructed, Bokkeveld Shale CY95, Chardonnay 2016 (SA)
The 2016 Kershaw Deconstructed Lake District Bokkeveld Shale CY95 was the judges’ top choice, with 2016 Kershaw Elgin Chardonnay placing second ahead of Sylvain Langoureau, Puligny-Montrachet 1er cru, La Garenne in third place.
The Strooidakkerk (Thatched Roof Church) was consecrated in 1805 in Paarl and is the oldest building still currently used for devotions by the Dutch Reformed Church in the country. In the vicarage garden is one hectare of Cabernet Sauvignon, the congregation prevailing on different local winemakers to vinify the grapes for them from year to year.
Spiritually uplifting.
The 2015 is a charming wine with notes of cherries, plum and earth with an attractive herbal overlay. It’s medium bodied with fresh acidity and tannins which are soft in the best sense. It comes across as gently savoury and unforced. Price is R 125 per bottle (with free delivery any area within 40km radius from Paarl). To order, call the church office on 021 872 4396.
Editor’s rating: 90/100.
Find our South African wine ratings database here.
Crystalline.
Hannes Storm is the poster boy for top-end Pinot Noir but you shouldn’t overlook his Vrede Chardonnay, the 2017 recently tasted at Cape Wine.
Grapes from a Hemel-en-Aarde Valley vineyard, winemaking involved spontaneous fermentation before eight months of maturationi in French oak, 25% new. The nose shows a floral top note before pear, peach and citrus with a slight herbal quality in the background. The palate has lovely fruit expression, bright acidity and a long, pithy finish. It’s concentrated yet light and has a particular liveliness about it – very, very elegant. Price: R499 a bottle.
Editor’s rating: 94/100.
Find our South African wine ratings database here.
Boss.
The Reserve Syrah from Greyton property Lismore is fantastic. Winemaking involved 40% whole-bunch fermentation before maturation lasting 10 months in 500-litre barrels. The nose is subtle and elusive with notes of cherry, cranberry, olive, white pepper, coriander and fynbos. The palate shows extraordinary purity and freshness while the tannins are super-fine. Lovely fruit upfront before an intensely savoury finish. It’s sophisticated but not too severe and gives real pleasure. Price: R680 a bottle.
Editor’s rating: 97/100.
Tasting notes for the other Reserve wines:
Lismore Reserve Viognier 2017
Price: R540
Matured for 15 months in French oak, 20% new. A top note of blossom before citrus and peach with a little reduction in the background. Dense fruit, snappy acidity and long, dry finish. Rather forceful and unapproachable.
Editor’s rating: 91/100.
Lismore Reserve Chardonnay 2017
Price: R540
Matured for 11 months in French oak, 35% new. A hint of reduction before intense citrus on the nose. The palate is direct and arresting – super-concentrated fruit, fresh acidity and great length. A very accurate take on the variety.
Editor’s rating: 94/100.
Despite considerable personal evidence to the contrary, I’ve always thought it strange that people buy wine from convenience stores or worse online from the comfort of their own homes, when they can just as easily take three or four days and do the job properly.
Take the Driehoek Shiraz from a valley high in the Cederberg Mountains as a perfect example. Order online and for little more than R200, you can enjoy a bottle with minimum hassle (and I can absolutely recommend it). But deep down you’re sure to feel a little cheated. Cheap even. Way better is to step away from your device and to make the trek out to the mountains themselves in search of ground zero.
Cederberg night sky.
The entire Cederberg is a picturesque mountain range a little over three hours north of Cape Town. There are campsites, cabins, chalets, cottages and one of my favourite deluxe hotels anywhere in Africa Bushmanskloof. There’s a small spa where personalised treatments will help ease any tensions your shopping excursion may have caused. Alternatively, there’s wilderness camping amongst the stars if you’re adventurous enough to hike up into the crags and peaks of the surroundings. No matter whether you’re wallowing it in the lap of luxury or roughing it in the wilderness, every pot’ll find a lid in the Cederberg.
Most importantly, there’s no rush to get the shopping done. Seeing you’re in the mountains, procrastination has certain advantages. Ruminate over your purchase while you engage in all sorts of anti-shopping-centre behaviour – a number of day walks and overnight hikes criss-cross these mountains. There are also a number of mountain bike trails that thread through the kloofs. If you’re not 100% confident on single track, there are ‘flatish’ dirt roads all over.
There are also a number of excellent rock art sites all over these mountains such as Elephant Rock Art Paintings & Stadsaal Cave. And on moonless evenings there’s a small observatory allowing you to explore the real beauty of the heavens.
Recently, a couple of craft breweries – Cederberg Brewery and NieuwBrew – opened their doors offering a range of artisanal style beers. And there’s a restaurant serving country food on Kromrivier farm, home of Cederberg Park.
Oh yes I almost forgot … we were here for the wine. Cederberg Private Cellar deservedly has a very high reputation while you should also be sure to visit to the boutique Driehoek Wines.
Stay Here
The following spots have a range of camping cottages and chalets to suit all tastes:
Algeria – self catering cottages run by Cape Nature
Sanddrif Holiday Resort – situated on the farm Dwarsrivier, home of Cederberg Private Cellar
Kromrivier Cederberg Park – the oldest and one of the area’s most popular tourist destinations
Driehoek – self-catering chalets
Mount Ceder – self-catering cottages
Mountain Biking
For information on mountain bike routes round Clanwilliam, click here.
Other trails can be found on Sanddrif, Kromrivier, Nuwerus and Mount Ceder.
Hiking
A wide range of day walks ranging from two to 10 hours can be found across the area. My favourites are the Wolfberg Arch and Cracks or the walk to the Maltese Cross. Overnight options are also multiple … the more intrepid shouldn’t miss climbing Sneeuberg over two days. Reservations can be made at most accommodation providers and farms or from the Cape Nature Office.
Callan Williams of The Garajeest.
The young woman opposite me, with extraordinary wide-open, pyrite-coloured eyes rimmed in thick dark kohl, took a little leather bomber jacket off, and began to talk about ballet. Years of it. Thousands of hours of point shoes and lessons and leotards under school uniforms and exams from the age of four. There were French classes to learn the fouetté from the pas de chat, daily after-school practice sessions at the South African Ballet Theatre and dreams of joining the Alvin Ailey African-American contemporary dance company. ‘I didn’t have much of a life’, she admits.
But in her final year of school, on a trip to Cape Town to audition for the Cape Academy of Performing Arts, Callan Williams had a revelation: there was no money in dancing.
Except her money-making plan wasn’t wine. This teenage ballet dancer, born in a tiny mining village in Zimbabwe, educated at one of the most prestigious private girls’ schools in South Africa and fed a steady childhood diet of Bruce Springsteen, Bob Dylan and The Rolling Stones, decided to enrol herself in Africa’s oldest, male-dominated, Afrikaans agricultural college, Elsenburg, to study cattle farming. She imagined she’d become, she told me, a kind of Lara Croft.
In her class she was the only English person, one of just three girls. But with the same single-minded dedication that she’d pursued ballet, she threw herself at farming. She struggled through two years of lectures in Afrikaans until she no longer needed the English translation notes. Having never drunk as a professional dancer, she learnt to drink and sokkie with the boys – so much pap sak that ‘I don’t even remember my first year!’, her eyebrows lift in half jest, ‘how did I even pass?!’ But pass she did, emerging four years later waving a B Agric with Cellar Technology degree. At some point, cattle farming had given way to oenology.
In her final year she got a phone call from Iona offering the role of assistant winemaker. Perhaps you could call it a lucky break. Most Elsenburg graduates without family wine farms start as cellar rats with a commensurate salary. It was there at Iona (purportedly the coolest vineyard in the Cape), under the wing of winemaker Werner Muller, that the wine bug really bit hard.
But Callan had not given up her dancing dreams in order to waste her life as assistant anything. Deciding to go it alone, she pulled out her savings, persuaded her dad to invest, registered a business, spent months researching, navigated the red tape, completed all her paperwork, and by the end of 2014 was on the hunt for grapes and a cellar.
The growers turned her down. She was too young, too inexperienced, too unknown and no one was willing to take a risk. By the start of 2015, harvest was approaching and she still didn’t have grapes. She was not going to be deterred. She kept banging on doors. Just in time, she managed to secure some Elgin fruit and a custom-crush facility. Her first vintage came in and suddenly there was no turning back.
With the disarming, callow honesty she’d so far shown, she tells me straight out: ‘At 24 you don’t know what you’re doing, and it was very stressful. I didn’t know enough. I remember constantly thinking, “What am I doing?! Should I really be doing this?” I was scared.’
She also had to sell the wine. Stubbornly she knocked on door after door, begging uninterested people to taste her wines, not leaving until they did. ‘It was hard. I was stressed beyond anything, tired, emotional, there was no one to advise me. I’d come home and cry.’ Once again, she was young, unknown, she was a risk. And the trade price of her wines was very high. But she didn’t budge. People tasted. People began to buy.
‘I’ve done everything on my own: accounts, invoicing, events, marketing, selling, winemaking. I’m a one-woman show.’ She designed her own labels and won The People’s Choice Award in the 2017 Wine Label Design Awards. All five of her importers found her through social media, which she brandishes like the sword of Boudica.
Nik Darlington, of Red Squirrel, her UK importer, tells me that it was originally a photo on Instagram that caught his attention. He started following her, and next time he visited South Africa he got in touch. It helps that she’s eminently photogenic, has the selfie down to a fine art, is of the generation that knows how to use an iPhone camera and all its filters to best advantage, and exudes this retro-modern rock-chick contradiction of fuck-you and vulnerability.
It’s not just on social media that she’s a blend of things that shouldn’t work. In the custom crush where she works, she tells me in a voice shiny with reverence that she’s learned so much from being surrounded by amazing winemakers from whom she could ask questions and get advice. But then her voice hardens a little and she tells me that despite being surrounded by lots of young guys doing interesting projects, she’s ended up advising them – on the business side of things. She takes fierce pride in her independence. But then she talks about Tim Atkin, who gave her wines a high score, and her voice really does melt with idolisation. She needs her heroes, and they’re not all sixties rock stars.
She has a strong faith, and is refreshingly open about it. But she swears like a farmer. She’s childlike, but has maturity beyond her years. She’s acutely image-conscious, yet wincingly frank. She’s naïve and streetwise.
So what do the wines of this paradoxical winemaker taste like?
Her white wine, cuvée name Jim, is a 100% Sémillon from Elgin. The 2016 smells like fresh quince, with buttery yuzu and waxiness. A bit of candle smoke. Then rich and broad-shouldered on the palate, filling every corner of the mouth. Creamy yet a core of freshness and clench that almost seems more mineral than acidity. Incredible sapidity and savouriness. Pears with a bit of quarry dust. The finish flares in the mouth with a wild explosion of life and joy and electricity.
The 2015, her first vintage, is herb-scented, soft green on the nose, borage flower and lovage leaf. There’s more tension, pulling a little tighter into itself. Dusty, a sweetness of white fruit that shifts every time you try to pin it down. There’s a floral element here that isn’t on the 2016. Some gentle pomelo and then lovely acidity, which takes time to fill the mouth. Not a wine that rushes in. Very Sémillon. I’d love to taste this with a Moss Wood Hunter Valley Sémillon.
Bruce is her red Cabernet Franc, also from Elgin. The wine smells of damson jam and boot polish. Cherries in syrup. Huge and spicy, Bovril and very, very ripe. Jammy, even, but wonderful juiciness. Tannins are soft and plump, redolent with an exotic bite of ras al hanout. Lots of throat-warming heat from start to finish. I struggle to find Cabernet Franc fragrance, fineness and minerality in this massively voluptuous, powerful wine, but there’s no mistaking its appeal.
This Bruce 2015 kicks in at a whopping 15.5% (the Jim is a much more civilised 14%). And therein lies my one criticism. I want to be able to drink more than a glass and stay awake. The ripeness needs to be pulled in by more than one notch.
That said, I have absolutely no doubt that this woman knows how to make wine. Not just that. She is brave, resourceful, resilient, determined and disciplined. She is as intense and as authentic as her Sémillon, as warm as her Cabernet Franc. And what she’s achieved in less than 10 years doesn’t just take talent and passion: it takes balls of steel.
In conjunction with Tonnellerie Saint Martin, winemag.co.za is pleased to release the second annual Pinot Noir Report. There were 36 entries from 26 producers for this year’s competition and we included two examples of Burgundy as ringers.
The line-up was tasted blind (labels out of sight) by the three-person panel, scoring done according to the 100-point quality scale.
Wines to rate 90 or higher were as follows:
93
Creation The Art of Pinot Noir 2015 – BEST WINE OVERALL
93
Iona 2013 – Cybercellar price: R319
93
Kershaw Elgin Clonal Selection 2017
93
Stonebird 2016
93
Sutherland Elgin 2015 – Cybercellar price: R160
92
Elgin Vintners 2016
92
Joseph Drouhin Chambolle-Musigny Premier Cru 2015
91
Bosman Family Vineyards Upper Hemel en Aarde Valley 2017
91
David Nieuwoudt Ghost Corner 2016 – Cybercellar price: R215
90
Creation The Art of Pinot Noir 2016
90
Donkiesbaai 2017
90
Harmand-Geoffroy Gevrey-Chambertin 2015
90
Nitida 2016 – Cybercellar price: R185
90
Shannon Vineyards Rockview Ridge 2017
As producer of the best wine overall, Creation won a new barrel of their choice from Tonnellerie Saint Martin.
To read the tasting report in full, download the following: Tonnellerie Saint Martin Pinot Noir Report 2018
To view a photo album of the awards function, CLICK HERE.
Off centre.
When it comes to the wines of Swartland producer Adi Badenhorst, then an attitude of “Expect the unexpected” is useful. The White 2016 is a blend of 25% Chenin Blanc, 16% Grenache Gris, 15% each of Grenache Blanc and Roussanne, 11% Marsanne, 10% Semillon, 5% Viognier and 3% Colombar and comes across as just a little peculiar and challenging but the more memorable as a result.
The nose shows cut apple, yellow peach, some nuttiness and biscuit-like character. The palate is rich and broad with some unapologetic oxidative character – deep in flavour and possessing a good line of acidity, the finish is long and very savoury. Wine Cellar price: R335 a bottle.
Editor’s rating: 92/100.
Find our South African wine ratings database here.
The pricing crisis of the South African wine industry worked its way towards a climax at Cape Wine 2018 earlier this month. DGB released a video clip entitled “The Inconvenient Truth about South African Wine” (directed mainly to foreign buyers, but equally applicable to the local trade) which made it clear that at current price points, much of the industry is unsustainable. The numbers speak for themselves: in the local market, according to market research company Nielsen, well over half our bottled (not bag-in-the-box) wines sell to consumers for under R40. The category deemed “ultra-premium” (red wines above R125 and white wines over R96) represents 5% of bottled wine sales and under 2% of the total wine market. Our exports are not adding any sheen to the message: most of what leaves our shores is shipped in bulk. Meanwhile over half a million cases of Australia’s 94m case total export brings in over R6000 per dozen – twelve times more than our average export price point in our biggest international market. A remarkable 22 000 cases of Australian export wine earns R20k per case or more for their producers.
It was into this witch’s cauldron of unhappiness there appeared what some people thought was a heaven-sent antidote – news that a Cape wine has, for the first time, been awarded a perfect 100 point score, from a credible international critic (Tim Atkin MW – see here). No wonder the partying at Cape Wine took off on the extra octane: if we have wines that rank with the best in the world, so the logic went, we can price accordingly. It was a tempting prospect, plausible until the morning after.
Even assuming the 100 point score was realistic, it can’t do much to change the low centre of gravity afflicting our wine prices. It may temporarily nudge demand, which in return will make it possible for players at the very top end to ratchet up their hard currency pricing. It won’t change our dependence on bulk buyers, it won’t increase our volumes or our prices in the markets we’ve allowed to become addicted to cheap South African wine traded in ever weaker Rands. The only two countries where South Africa sells more wine than Australia are Germany and the Netherlands. Both are notoriously cheap wine markets, which is no doubt why our Antipodean competitors are happy to leave them to us.
Our wines have been getting better every year. We know they have long been under-valued. Now, with Tim Atkin’s 100 point rating for one wine (and two at 99 points) at least a few have been over-scored. There’s a certain justice in this. However, before we get carried away with the excitement, this is not like Kevin Anderson winning at Wimbledon or Louis Oosthuizen bagging the Claret Jug. This is a result arrived at in a sighted tasting environment by a single critic who has made a speciality of South Africa. It is hard to escape the image of the nice people from Europe arriving in their tall ships with their beads and trinkets to buy Manhattan Island.
Pause for a moment to consider the cynical symmetry of the top tier scores in Tim Atkins’s 2018 South African report. At the apex, we have Kanonkop’s Paul Sauer 2015 – the first SA wine to make the 100 point “perfect” score (read our review here). Just below this windswept peak of Everest we have Eben Sadie’s 2017 ‘T Voetpad, a close second at 99, alongside Chris Alheit’s 2017 Magnetic North. Kanonkop has long been regarded as our undisputed First Growth estate. Any credible ranking of top Cape wines would have to include the Paul Sauer. By the same token, Eben Sadie has been the pioneer of handcrafted single-site wine in South Africa. He is the recipient (in 2017) of the International Winemakers’ Winemaker Award – the highest peer group recognition in the world of wine. Something from his cellar would naturally have to be in the running. Chris Alheit has lately come to share this space with him, both from a site-specific wine perspective as well as in his role as an exponent of zero intervention “natural” winemaking. It’s a little too fairy tale, a little too fake, a little too self-serving: Tim Atkin putting a stake in the ground – not for South Africa – but for Tim Atkin.
Five years ago Atkin’s highest SA wine score was probably 93 – and it was good enough to make everyone pay attention – to SA wine, to the producer in question, and to Tim Atkin as a critic. Since then a 93 score hardly raises an eyebrow: WineMag’s ratings over the same period have nudged upwards by two if not three points. We’ve all recalibrated a little. What used to be a noteworthy achievement – a score over 90 – makes little or no impression on a market which has watched score inflation/point devaluation track the Zimbabwean dollar to the depths of the Mariana Trench.
In 2014 Atkin defended himself against accusations of ‘stratospheric scoring’ in his Bordeaux ratings. “To put my ‘inflated scores’ in context,” he wrote, “I gave two 100 point scores to Bordeaux 2009s (Lafite and Cheval Blanc) and none to the Brunello 2010s.” He argued that his scores for the 2014 Bordeaux vintage were not at a ‘preposterous level.’ “I was,” he said, “writing about the best wines from the best properties in the world’s leading fine wine region… in a good to very good vintage … with pockets of excellence.” His top four 2014s made it to 98 points. “In my life,” he said, “I think I have given fewer than a dozen perfect scores.” He certainly doesn’t appear to have awarded any wine of the much vaunted 2015 Bordeaux vintage a 100 points, though Petrus edged close enough at 99.
Atkin will accuse me of cultural cringe, of not believing that we are worthy of a 100 point wine. He’s wrong about that. I can think of several mature wines that sit comfortably with the very best examples produced anywhere in the world. In this I am not alone: visitors to Cape Wine who were fortunate enough to attend the Tuesday night old wine tasting in Stellenbosch hosted by producer collective The Whole Bunch were effusive in their praise of these admittedly ancient treasures. One, at least, was ready to forward a couple of credible 100 point candidates from that evening. Atkin may say that it’s much easier to let the lapse of time do this for you, that the 100 point young wine is what the industry needs.
On that same Tuesday evening at Cape Wine the Stellenbosch Cabernet Collective presented its 2015 Cabernets in a line-up which included a couple of very good 2015s from the Medoc – Chateau Leoville-Las Cases and Chateau Pichon Lalande. The Stellenbosch wines were pretty neat (as well we might expect them to be) but when the audience was asked to decide whether the Cape wines were better than the two clarets, the majority thought otherwise. These, incidentally, were wines which Atkin had scored 94 and 96 respectively.
We so badly want to have an undisputed 100 point young wine. Presumably, this is what makes us ready to believe the well-sold fairy tale that in the past few years our wines have improved by 40% (the increment from Atkin’s base score to highest score 5 years ago, versus today). But deep down – or not so deep down – we should know this can’t possibly be the case. It’s difficult to accept that the Nirvana we have been offered may be nothing other than a second class view of heaven, paid for in discounted currency. No doubt this is what prompted so many otherwise thoughtful and intelligent producers to claim that this first 100 point score must be good for South Africa. I believe that we can either wallow in our “achievement” – like pre-school kids who all get a certificate at year-end prize giving – or we can refuse to be seduced by what is a cynical exploitation of our own frailty. We’ll get there one day, but not now, and not with counterfeit coinage.
Children broaden horizons and mine took me to the Methodist Church hall in eMalahleni (née Witbank). After the ballet exam that occurred therein, the dancers and I looked around for somewhere to celebrate. Googling ‘eMalahleni restaurants’ is a deeply depressing epicurean experience. When the on-line Oracle spat out only a pitiful collection of casino-based chain eateries I put my phone away and headed, on a hunch, towards the old city centre. My theory was that if I could find a sufficiently seedy part of town I would also find a real roadhouse. And I was right. There amidst the panel beating shops and stray cats picking at litter was the Rendezvous.
Roadhouses belong to a bygone age. They survive only in small towns and/or unfashionable suburbs, where land prices are cheap enough to justify large lots and the fast-food giants don’t think it’s worth their while to enter the arena. The corner of Walter Sisulu Street and Elizabeth Avenue in eMalahleni is just such a spot.
The Rendezvous has probably seen better days. The roof sags slightly in the centre. The splash of neon scrawl announcing its existence blinks and buzzes periodically. A second chalk sign states as follows: ‘RULES: no driving over 20km per hour, no loud music, no fighting’ but even during our late lunch on a Thursday all the above instructions were being ignored. Doef-doef music, revving of engines and alarming acceleration were definitely de rigueur.
Double, triple and quadruple starching are also obligatory. My R49.94 beef bunny chow came with plump potatoes and a gravy so replete with cornflour that it was dense enough to stop bullets. Our charming waitress, Lesego – who arrived immediately every time we flashed the car lights – offered me the option of adding flattened chips to this culinary combo. She explained that these were the Rendezvous’ signature dish. Apparently between triple-frying the chips are pressed flat so as to bring forth extra crunch. And jolly nice they were too. Indian food snobs should know that the bunny’s filling is stew with a sprinkling of Rajah curry powder but that it slips down very agreeably when accompanied by an atomic pink strawberry milkshake.
Full marks go to the fried chicken batter maker for a fabulously fragile crust that shattered at the touch of teeth. Inside the flesh was scalding hot and juicy. Two pieces of poultry with a mountain of hand-cut, gloriously wonky chips – this portion unflattened for comparative research purposes – set me back the princely sum of R37.95.
The laddies (sic) ribs (200g with chips R58.95) were sticky, salty, sweet with a good balance of meat to fat. The menu listed them as pork but the sauce coating was so pervasive that provenance is open to question. It could have been pork but it is impossible to rule out lamb or dachshund. I like lamb and have no particular objection to dachshund. Whatever they were they did the job very creditably. With ribs you want the flesh to come off the bone easily but not fall off. There should be some chewiness and some smokiness. And there was. The fruit-filled, slightly spicy, R25 glass, Four Cousins Dry Red recommended by our waitress was a perfectly pleasant and sensible suggestion. Lesego’s other proposal was to pair the ribs with brandy and coke which would also have worked well.
The Rendezvous is about as far from gourmet as you can get but the fried chicken is really good and the ribs are almost certainly not dachshund. The waitress offers serviceable wine pairing advice and it beats oversized muffins and acidic espressos in the casino.
Rendezvous Roadhouse: Cnr Walter Sisulu Street and Elizabeth Avenue, Emalahleni; 013 656 5121
Subscribers receive daily reviews and in-depth reports before release to the public. Cancel any time.
