Every industry will work through boom-and-bust cycles, it is just part of business. Scottish whisky is no different and whilst we are currently amid a boom, it has not always been like this. Positive years bring about high sales, distillery openings, scores of jobs, and plenty of drinking options. Lean years are sadly different, and it tends to lead in one ultimate direction – the closure of distilleries.

In the middle of the 1970’s Scotland was producing a vast amount of whisky, mostly for a thriving blend market as single malts were only a small part of the scene. As these things go, it was not long until circumstances changed; it soon became apparent that there was too much liquid out there, but not the demand. One key player, Distillers Company Limited (DCL), was significantly impacted, eventually deciding to close eleven malt distilleries and a further grain distillery in 1983, with additional closures in 1985 and sporadic shutdowns in other years. Further companies followed suit, and Scottish whisky was changed dramatically.

Those distilleries selected for closure were either too expensive to upkeep in their current standard, required substantial investment to run efficiently, or were deemed to be so unremarkable that their spirit could be easily replaced. And so those unfortunate chosen distilleries were mothballed or demolished, and whatever stocks remained were tucked away for another day. As appetite for single malts grew in the late nineties, fans, bottlers, and collectors got stuck into these under-appreciated, well-aged stocks. Helped in large part by special releases and word of mouth, some of these “silent” or “lost” distilleries became highly regarded and sought after. When used in a blend, they had no chance to shine. But as a matured single malt, they took the spotlight.

And so, the legends of Brora, Port Ellen, Rosebank, and Dallas Dhu grew. All four were shut at some point by DCL (who eventually became Diageo) but were spared the total demolition fate that befell others. Casks and bottles from these fabled icons became increasingly valuable and expensive, and gained a magical place in the eyes of enthusiasts, partly because they were deemed to be spirit of the upmost quality, but also because of their rarity. The liquid inside each cask or bottle was a fraction of all that remained. Once it was gone, it was gone. No more.

With all this appeal, collectors are prepared to break the bank to get whisky from these silent distilleries. In 2014, Diageo released their most expensive retail bottle of whisky at the time to the duty-free market, a 1972 40-year-old Brora, retail price £7,000. So highly desired was this whisky that it fetched even more at auction; a bottle was sold at Sotheby’s for £45,000 in 2019.

Riding the wave of the current boom has changed the fortunes of these silent distilleries. The interest, and price, is so high, yet the availability does not exist. What is the solution? How about reopening and producing more?

Diageo took that step by announcing in 2017 that it would reopen both Brora and Port Ellen. Brora was up first,and restoration work started in 2019, with the first casks filled in 2021. The team behind the reawakening were so keen to keep the esteemed previous Brora style thatmuch of the equipment is exact copies of what was there in the days before it was shuttered. Next up was Port Ellen, although that required more work as little remained after years of inattention and pillaging. But it was rebuilt and reopened in 2024, even with a replica pair of stills (known as the phoenix stills) created to mimic those from a by-gone era and an extravagant visitor centre.

They are not alone. Ian McLeod Distillers (owners of Glengoyne and Tamdhu) acquired Rosebank distillery in Falkirk and after significant investment and overhaul, including replacing the stills which were stolen during a break-in around Christmas 2008, Rosebank produced its first spirit in 2023 and opened to the public in the summer of 2024. Later that summer, it was announced that Dallas Dhu in Speyside will reopen under the vision of Aceo, the spirits company who run Murray McDavid. After years of operating as a museum by Historic Environment Scotland, the hope is to create a fully productional distillery again, blending original and historic equipment with more modern and sustainable practices. The plans for Dallas Dhu also include dining options and a state-of-the-art visitor centre, outlining the whisky industry and the Speyside region.

But might these reopening’s impact the very essence of what has made these distilleries so coveted? Part of the appeal has been that the stocks are finite, so replenishing appears contradictory. And what if the latest whisky cannot live up to the quite considerable hype? However, more likely is that the old stocks will continue to be highly prized, and the new spirit will create its own story, blending together the distinct histories of the distillery. Other distilleries that have gone silent have re-entered production and become staples of the whisky market. Tamnavulin, Benromach and Knockdhu (through their anCnoc range) all had years of inactivity and are now widely available and well regarded. In due course, the likes of Brora and Rosebank may not only be thought of as once-lost distilleries, but as contemporary creators of some of the finest single malts the country has to offer. It remains to be seen what impact bringing legendary silent distilleries back into production will have. Years will pass before any are producing new whisky for us to sample, debate and appreciate. Will these new visions capture the flavours and profiles that led to these distilleries becoming such phenomes, will they still enthral and captivate enthusiasts, will they create a new tale for each distillery? Only time will tell, but you’d be hard pushed to find anyone out there not curious to see how the stories continue.

This article appeared in Issue Nineteen of Cask & Still.