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What does WA taste like? To Hearth's head chef, the most important flavour is potential

What does WA taste like? To Hearth's head chef, the most important flavour is potential

From smoked kangaroo and wattleseed tortillas to fun Viennetta remakes, Hearth is a spirited journey into West Australian food and wine.
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What is it about the number three that makes it so auspicious?
Good things come in threes. The third time's a charm. In 1973, Bob Dorough's catchy composition Three Is a Magic Number kick-started American children's television show Schoolhouse Rock. (Almost two decades later, his song was also sampled by hip-hop trio De La Soul.)
After working my way through most of the winter menu at Hearth, I get the sense that three is also something of a magic number for Brian Cole, the restaurant's Sierra Leone-born head chef.
His sourdough is baked with three different barleys including the New Norcia black barley carefully resurrected by late grain grower Roger Duggan; his smoked three-caviar tart features sturgeon, Murray River and Japanese flying fish roe; and the twice-baked three-cheese souffle couldn't have happened without the efforts of local cheesemakers Cambray, La Delizia Latticini and Halls Family Dairy.
This year also marks Cole's third year as the big cheese at the Ritz-Carlton Perth's ground floor diner: a lofty riverside cathedral rich in azure, ochre and stone, plus the understated luxury that the global hotel group is famous for. (At the very least, the room is a welcome contrast to the garish Tron -like glow of Elizabeth Quay after dark.) These paint and building material choices are about more than just following brand guidelines. They're also some of the ways that Hearth celebrates its deep West Australian-ness. (See also: the cellar's pronounced local accent, plus the kitchen's fondness for native West Australian flavours and carefully sourced local produce.)
Once upon a time, the expectation was that the marquee restaurant in a five-star hotel would be a formal, airless chore of a thing. Not so here. Led by restaurant manager Tom Staples, service is cordial, composed and well-drilled. Engaged staff look equally comfortable hosting big tables as they are cossetting solo diners that hotel restaurants inevitably attract.
Just as attentive service might challenge hotel restaurant norms, so too does Hearth's focus on open-fire cooking. Not that this is some macho, full metal smokehouse trading in shock and awe. Rather, the kitchen uses its jarrah-burning grill and smoker fuelled by applewood chips, often in tandem, to help ingredients be their best selves.
So Mottainai lamb shanks are smoked, cut into good chunks and folded into a crumbly wattleseed and masa tortilla crisped over the coals. This deftly composed taco and its two-bite ilk are part of a new 'to-start' offering: snacky things that populate various tasting menus but can now be also ordered individually. (They're also offered next door at Hearth Lounge, the restaurant's seven-day bar and lounge offshoot.)
Kangaroo gets cured, smoked and charred over the fire to yield a blushing tranche of fillet that's a pleasure to eat. (Shout out to the accompanying glossy, lip-sticking jus of roasted kangaroo tail and chicken wing.) I must admit, while Cole's cooking has always been big on technique and layered flavours, some of his earlier dishes felt bogged down by showy flourishes. Now that he's dialled back the frou frou touches and tightened up what's on the plate, his vision of modern (West) Australian cooking feels so much clearer and, most crucially, delicious.
Fennel pollen, bush honey and a native herb salt put an Aussie spin on roast Wagin duck breast. To the side, a cutesy croquette of shredded duck meat made in the image of the Dutch crumbed meatball, bitterballen. Giving Pardoo wagyu oyster blade the low and slow treatment transforms this not especially glamorous cut into a melty paleolithic wonder while its ragu offsider makes a compelling argument for more cooks to slip their customers some (beef) tongue.
Could the pumpkin and potato gratin on the menu's sole vego main have been crisper? Possibly. But judging by the endive braised in orange juice served with the duck, team Hearth's barbecuing range is more than just snags and chops.
Grilled strawberries rendered fudgy by the hearth prove fruit and fire should catch up more often. A dapper mille-feuille comprising frilly plinths of puff pastry, hazelnut ice cream and native rivermint gel tastes like history's poshest mint Viennetta.
Such fun throwbacks – plus the introduction of more flexible menus and large-format share proteins – speak to Hearth's efforts to position itself as a more accessible CBD dining option. Points for proactivity, but Hearth's pricing (still) puts it largely in special occasion territory, especially to those susceptible to menu upsells. Chinese-farmed Black Pearl caviar is sold by weight. Pay a supplement and get black truffle shaved over whatever dish you fancy: a flex that yields good TikTok content but doesn't always flatter this expensive seasonal ingredient.
But like the saying goes, you get what you pay for. And if having someone rain black truffle on your camembert ice cream makes you happy, who am I to say otherwise? You do you. And if doing you involves commemorating a milestone or weaving some special into your life, Hearth needs to be on your radar. Firepower plus people power plus the contact high of worldliness that comes from brushing shoulders with a world-famous hotel dynasty equals a compelling class of (West) Australian dining that feels very modern, very Perth and very essential.
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Why Hollywood's comedy king thinks Aussies appreciate him most
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And according to he now has about 20 projects – including a sequel to the 2015 Melissa McCarthy movie Spy – in various stages of development. At 62, the perennially dapper writer-director-producer has no intention of slowing down. 'I'm all about speed,' he says. 'My whole thing is I'm looking for runaway freight trains, because the things you develop for years are just caught in the muck and the mire, people overthink, it starts to sag, and people get tired of the stuff that was good, you know.' Getting a project up and running quickly is vital to maintain the momentum, especially in comedy. 'I think energy is the biggest thing that makes a movie or a project great,' he says. 'Everybody goes into it with a head of steam. I'm not saying good things don't come out of being cautious and taking time. It's just for me, that's not a pace I like. I like, 'blam, here it is'.' For the most part, that approach has served Feig well. Having started his career as a performer, he switched to the other side of the camera after his breakthrough role in Sabrina the Teenage Witch was cut after one season because, he was told, they didn't really know how to write for his character. 'It was this thing of, 'Wow, if you're an actor in this business, you're completely out of control'. They can fire you at any time. You are stuck in a contract for seven years unless they let you out of it. So it just cemented in my head that I want to do this.' His first attempt, a self-funded feature he wrote, directed and starred in (alongside illusionist Penn Jillette, of Penn and Teller fame), wiped out his and his wife Lauren's savings and was never picked up for distribution. 'I was like, 'it could potentially be over right now',' he says of the film, Life Sold Separately, which has not been released to this day. 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'I witnessed the birth of Oasis firsthand'
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He seemed to be at every gig, the Hacienda or the all-night raves in squatted flats in the then-bohemian wasteland of Hulme. He already had an in-depth knowledge of bands and music history, and was as passionate about the classics as great lost Manchester bands such as World Of Twist or Yargo. Soon after, when he started roadying for the Inspiral Carpets, I would see him at their gigs or at the band's office at New Mount Street, the hub of the 80s Manchester music scene. When he first formed Oasis in 1991, he gave me demos — which I still have including one of the band's very first, which he handed me on Whitworth Street near his then-flat in Manchester city centre. It was a demo full of hope of a band straining against a national music scene that had decided Manchester was over. Early Oasis rehearsed next door to my band in the Boardwalk rehearsal rooms around the corner from the Haçienda — the heart and soul of the Manchester music scene. Most of these bands would rehearse a couple of times a week, but Oasis seemed to be in there every day, grafting and plotting in the dusty damp of the cellar rooms. They were in there so much that they had even decorated their room, painting the brick walls white, adding a small pop-art Union Jack painting and two Beatles posters. These were the psychedelic April 1967 photoshoot with American photographer Richard Avedon, and the shot of The Fabs on the steps of Brian Epstein's London flat on the day of the launch party for Sgt Pepper's Lonely Hearts Club Band. There was method in the madness. One of the smartest people I've met in bands, Noel always knew what he was doing. The three years on the road around the world with the Inspiral Carpets had been a crash course in how bands worked. He understood the dynamics and the graft as he sound-checked all the Inspiral Carpets' instruments, and had even tried out to be the band's singer when Stephen Holt, their original vocalist, had left. He also spent hours in the office on the phone or looking after the T-shirts. After Inspiral Carpets rejected his audition as frontman, he entered 1993 determined to make it with his own band. It wasn't easy — in the early days the band were overlooked despite his connections and drive. London bands like Suede were all over the music press, and it felt like Manchester bands were out of fashion. A few years later Noel said he felt like 'the last one of my generation to make it'. In that first year, it seemed like Oasis was a hobby built around Noel, with a quiet, 20-year-old Liam in tow. But Liam had rockstar looks and a wild self-belief. And both, growing up sharing a cramped bedroom on a council estate in Burnage, were united by the desire to escape the drudgery of life, the shadow of their errant, difficult father and their then-broken city. In fact it was Liam who had initially found a local band who made a great racket but needed a singer with star power. After coaxing Noel to join, they knew they had something powerful. The brothers' dynamic was fascinating: Noel would write and Liam would deliver his brother's lyrics in one or two perfect takes, just minutes after learning them. It was this innate understanding of his brother's emotions that contrasted so dramatically with the pair's many fall-outs. The brothers' psychodrama was described perfectly in 1997 by an 18-year-old Pete Doherty: 'I subscribe to the Umberto Eco view that Noel Gallagher's a poet and Liam's a town crier.' Still reeling from the effects of the post-industrial meltdown, late-80s Manchester was far removed from what it is today. The city's famous two Sex Pistols gigs in 1976 had sparked a post-punk revolution of the 'Manchester kids with the best record collections', as Tony Wilson once quipped, from the Buzzcocks, Factory Records and the Haçienda to Joy Division, The Smiths, The Stone Roses, and the Happy Mondays. The young Oasis became the final chapter in the city's transformation. Live Forever: The Rise, Fall And Resurrection Of Oasis by John Robb is out now. Oasis play Docklands Stadium, Melbourne, October 31, November 1 and 4 and Accor Stadium, Sydney, November 7 and 8. © John Robb / Telegraph Media Group Holdings Limited 2025

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