logo
Large reservation deposits and 90-minute timeslots: The sorry state of the UK's fine dining scene

Large reservation deposits and 90-minute timeslots: The sorry state of the UK's fine dining scene

Daily Mail​24-05-2025
Eating at a Michelin-starred restaurant these days is like going to a premier league relegation football match. You have to fork out huge amounts of money in advance for your seat, it takes ages to get there and then the whole experience lasts just 90 minutes before they start trying to kick you out.
What happened? Why is fine dining suddenly taking lessons from fast food, hustling us from our seats and literally turning the tables on us? The British gastronomic experience used to run on trust and a deliciously freewheeling flexi-time – arrive at 'ish' o'clock, eat like a Roman emperor, stay as long as you want, then leave a big tip if you enjoyed it. Now our enjoyment is being regulated à la Swiss horology and officiously monitored like a German bank account.
These days it starts even before your starters. 'Minimum spend' is a grim and déclassé phrase previously only heard at Las Vegas girly bars and at bottle service VIP areas in glitzy Mayfair nightclubs – it's a low bar set specifically to encourage high rollers and discourage paupers, penny pinchers and riff-raff. But plenty of properly posh nosh houses in London are now insisting on a similar advance and outlay for bookings, days or weeks in advance of your actual dinner. Hutong at The Shard requires diners to spend at least £80 per head on Friday and Saturday nights. Chutney Mary in St James's imposes a £60 per person minimum for dinner. At Mayfair sushi temple The Araki, diners must 'pre-pay' £310 per head on the Tock app for the exclusive dinner omakase experience. Three hundred and ten quid! In advance. Are we eating out or investing in a Ponzi scheme?
With daytime alcohol consumption all but taboo in 2025, the long lunch is under serious threat, too, replaced by ten miserable minutes of takeaway sushi at the computer terminal ('al desko') or a cheerless meal replacement shake in front of a WFH Zoom call.
Tired of no-shows and what the business calls 'reservation squatting' (booking numerous time slots, deposit free, then only turning up for one of them), restaurateurs are now imposing time limits on their dinner tables, too. You go online, book and probably leave your credit card details, only to be informed in plain English – no fancy dressing – that the management is going to need you to be gone within 100 minutes of your reservation time. As it usually takes ten minutes either side of a booking to get in and out of a restaurant, this cuts actual dining time down to 90 minutes.
'Lockdown was the beginning of all this nonsense,' says Mark Hix, a legendary luncher and diner, whose work CV includes kitchen stints at Le Caprice, The Ivy and The Groucho Club, as well as managing his own highly regarded restaurants in London and Lyme Regis.
'That's when everyone got paranoid about time slots and efficiency, when they started making rules and asking for deposits. And when everything went online, people took advantage and started booking tables for six or ten at several different restaurants in one evening and then deciding which one to show up at on the night.'
That does sound annoying, and one does feel the restaurateurs' pain – but an hour and a half! For dinner? Surely I shouldn't have to be clock-watching when I'm supposed to be gorging. When I sit down for nosh I want to decompress. I want to be under the influence of a full-bodied red, not under a time constraint.
The 90-minute dinner-table limit doesn't work because of how a typical restaurant experience tends to pan out. First, you make the reservation, taking into account guests' availability and location, factoring in their various punctuality records. For me, dinner will involve either a single friend, a group of male mates or my two grown-up daughters.
On any and all of these occasions, at least one person (sometimes me) will be late. Sometimes by as much as 25 minutes. And seeing as it's rude to order for yourself in their absence, you wait. Since the clock starts ticking from the reservation time, that's almost a third of the allowance already used up. Factor in cloakroom procedure and pre-dining loo visits, we're really not left with a lot of time.
When everyone has finally arrived, we can order – but with myriad 'dietaries' to deal with and the back-and-forth decisions of the dish-ditherers and the I-haven't-looked-yets, this can eat up another ten minutes. We are now probably down to 60 minutes and with starters delivered to the table, the seconds are ticking away with the neuroticism of the Countdown conundrum clock.
Someone orders the risotto, which is cooked from scratch and takes an extra 20 minutes, so the rest of the table will wait and order more wine. It would be rude to tuck in while their plate is still bare, right? But being well-mannered will also mean that eating, fun, bacchanal and conversation, taste savouring and wine time is now down to around 15 minutes. So let's skip pudding and have a coffee somewhere else. Bill, please! Ironically, this can take an age to arrive, but these wasted minutes, the extra time of the 90 minutes, will not be acknowledged. And guess what? Turns out there's no one waiting for this table anyway so we could have stayed much longer, tried the affogato dessert and consumed more Picpoul. Spent a lot bigger, too.
Oh, to be back in the great expense- account splurge of the 1990s when I was once told off by my boss at a glossy magazine for taking too little time for lunch. 'Simon, lunch is 1pm until at least three,' my superior explained. 'If you are back in the office for two, you just make the rest of us look bad.'
Around the same time, across town in super-smart Fitzrovia, the owner of Michelin-starred Pied à Terre would tell stories of a loyal customer nicknamed 'Timmy Two Lunches' by staff, who would take two tables a day – one at 12 o'clock and another at two o'clock. Two, two-hour lunches in one day! The owner of Ffiona's on Kensington Church Street still gladly recounts how, once, a national newspaper's 90s Christmas party exited her establishment at 7am.
Waiter, can we reverse time and go back to these glory days, please?
Ask a professional bon viveur about the idea of treating dinner as a revved-up amuse-bouche rather than a slow-food main course, clocking restaurant guests in and out like factory workers, and they will choke on their beef-shin ragout. YOU's restaurant critic Tom Parker Bowles, a long-playing record holder for extended fun dining, is refusing to eat anything off this rigorously set menu. 'No decent restaurant would turn its tables like that. It's so rude,' he says. 'It wouldn't happen at The River Cafe, Bellamy's or St John. They would never rush you or kick you out.'
Chef Mark Hix, now living in Dorset and working as a private caterer, believes that two hours is a civilised time for a dinner. 'More if people are drinking a lot of wine.' Sometimes, Hix acknowledges, it'll be the menu, the kitchen, the cooking and cheffing process conspiring to gobble up the precious seconds. 'If a customer orders soufflé, the full roast chicken for two or the kilo porterhouse steak well done? Those dishes are going to take a bit longer – say 40 minutes to an hour longer. Both customer and management have to take that additional time into consideration.'
Side order: I once had a roast chicken dinner with Hix myself. It began at 7pm and ended at 1am. A long time, a very good time, and a long, long time ago, too.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

How Ozzy Osbourne and Black Sabbath found their sound - and invented heavy metal
How Ozzy Osbourne and Black Sabbath found their sound - and invented heavy metal

BBC News

time16 minutes ago

  • BBC News

How Ozzy Osbourne and Black Sabbath found their sound - and invented heavy metal

If you saw Black Sabbath's first ever gig, you wouldn't have recognised in 1968, they had the decidedly less sinister name of The Polka Tulk Blues Band, and came complete with a saxophonist and bottleneck guitar player.A year later, they'd slimmed down, found a new name and invented heavy metal. Few bands are so inextricably linked with a musical genre, but Sabbath set the template for everyone from Motörhead and AC/DC to Metallica and Guns 'n' the way, singer Ozzy Osbourne, who has died at the age of 76, became one of rock's most influential figures, with an electrifying and unpredictable stage presence and an almost mythological intake of drugs."If anyone has lived the debauched rock 'n' roll lifestyle," he once admitted, "I suppose it's me."So how did these four working class musicians from Aston, Birmingham rewrite the rules of rock? According to Osbourne, it was a visceral reaction to the "hippy-dippy" songs like San Francisco (Be Sure to Wear Some Flowers In Your Hair) that saturated the airwaves after 1967's Summer Of Love."Flowers in your hair? Do me a favour," he seethed in his 2010 autobiography. "The only flowers anyone saw in Aston were the ones you threw in the hole after you when you croaked it at the age of 53 'cos you'd worked yourself to death."Teaming up with guitarist Tony Iommi, bassist Geezer Butler and drummer Bill Ward, Osbourne's initial idea was to put a Brummie spin on the bluesy sound of Fleetwood band's first name, Polka Tulk, was inspired by a brand of talcum powder his mum ditching the saxophone, they rebranded as Earth, taking as many gigs as they could manage, and even blagging a few extras."Whenever a big name band was coming to town, we'd load up the van with all our stuff and then just wait outside the venue on the off-chance they might not show up," Osbourne later worked... but only once, when the band were asked to stand in for an absent Jethro Tull. "And after that, all the bookers knew our name," Ozzy said. That opportunistic streak also steered them towards their signature just so happened that the band's rehearsal space was directly opposite a cinema that showed all-night horror audiences flock to these shows, the band conjured a plan."Tony said, "Don't you think it's strange how people pay money to get frightened? Why don't we start writing horror music?" Osbourne told music journalist Pete Paphides in 2005. "And that's what happened."The musicians metamorphosed into their final form: Adopting the name Black Sabbath, after a low-budget Boris Karloff film of the same name, they started writing lyrics that dabbled in death, black magic and mental suit the material, the music needed to get heavier, too. Ward slowed down the tempo. Iommi turned up the volume. Osbourne developed an aggressive vocal wail that always seemed to be teetering on the precipice of it was Iommi's guitar playing that really set Sabbath apart. His riffs leapt from the amplifier and hit the audience square in the chest with taurine was a sound he developed by necessity. When he was 17, Iommi was working in a sheet metal factory when he lost the tips of his two middle fingers in an industrial accident. Although surgeons tried to reattach them, they had gone black by the time he reached hospital. It looked like the end of his guitar career. Obituary: Wild life of rock's 'prince of darkness'Did Osbourne really bite the head off a live bat?'There will never be another Ozzy': Rock royalty pays tribute "The doctors said: 'The best thing for you to do is to pack up, really. Get another job, do something else'," Iommi wrote in his autobiography, Iron to prove them wrong, he melted down a fairy liquid bottle to make protective thimbles for his fingers, and slackened his guitar strings so he wouldn't have to apply too much pressure on the fretboard to create a months of painful practice, he learned a new style of playing – using his two good fingers to lay down chords, and adding vibrato to thicken the sound. That stripped-back, detuned growl became the basis of heavy metal."I had never heard that style of playing," said Tom Allan, who engineered Sabbath's self-titled debut album in 1969."I couldn't really fathom it. I didn't really get it. You never heard anything like that on the radio." The record was grim and sludgy – partly because the band had recorded it in just two days, with limited weren't sure what to make of it. Writing in Rolling Stone, Lester Bangs said the album had been "hyped as a rockin' ritual celebration of the Satanic mass or some such claptrap... They're not that bad, but that's about all the credit you can give them."The supposedly satanic imagery sparked a moral panic in the mainstream press, which intensified when it was discovered that the album's title track contained a chord progression known as the Devil's Interval, which had been banned by the church in the Middle the press didn't realise was that Black Sabbath, the song, had been written as a warning of the dangers of satanism, after Ward had fallen asleep reading books on the occult and woken up to see a ghostly, hooded figure standing at the end of his bed."It frightened the pissing life out of me," he later the truth, the controversy sold records and attracted legions of the band returned to their hotel to find 20 black-clad satanists holding candles and chanting outside their room. To get rid of them, Osbourne blew out the flames and sang Happy Birthday. Still, Sabbath leaned into their reputation, writing darker material and gaining a reputation as hellraisers as the 70s wore the music was never as basic or one-note as their image second album, Paranoid, marked a seismic leap in songcraft, from the visceral anti-war anthem War Pigs, to the creeping intensity of the title track, via the sci-fi horror of Iron Man, and the ghostly balladry of Planet kept up the pace on 1971's Master of Reality, with Osbourne describing Children Of The Grave as "the most kick-ass song we'd ever recorded".Vol 4, released in 1972, is sometimes overlooked because of its lack of a big radio single, but it also contains some of the band's best and most varied documents their descent into drug abuse with a depth-charge guitar riff; while St Vitus' Dance is a surprisingly tender piece of advice to a heartbroken friend, and Laguna Sunrise is a bucolic instrumental. Sabbath Bloody Sabbath, meanwhile, was written as a furious critique of a music industry that had written them off."The people who have crippled you / You want to see them burn."After 55 years, and hundreds of imitators, the revelatory shock of Sabbath's sound has dimmed. How else do you explain Osbourne and Iommi performing Paranoid at Queen Elizabeth II's Golden Jubilee in 2002?But the power of those songs, from Iommi's brainsplitting riffs to Osbourne's insistent vocal wail, is he inducted Black Sabbath to the Rock and Roll Hall of Fame, Lars Ulrich of Metallica said, "if there was no Black Sabbath, hard rock and heavy metal would be shaped very differently"."When it comes to defining a genre within the world of heavy music," he said, "Sabbath stand alone."Writing after the band's penultimate farewell show in 2017, Osbourne said he was humbled by the acclaim."I never dreamed we would be here 49 years later," he said."But when I think about all of it, the best thing about being in Black Sabbath after all these years is that the music has held up." Five essential Ozzy Osbourne songs 1) ParanoidWritten as a last-minute "filler" for Black Sabbath's second album, the group accidentally created their biggest hit: The story of a man battling his inner voices, set to one of rock's most powerful riffs."Every now and then you get a song from nowhere," said Osbourne. "It's a gift." 2) Crazy TrainThe song that launched Osbourne's solo career, it's almost atypically upbeat - shrugging off Cold War paranoia and declaring: "Maybe it's not too late to learn how to love." It's only the maniacal laughter in the fading bars that suggests this outlook is the purview of a madman. 3) Sabbath Bloody SabbathSabbath's reputation for darkness means their melodic capabilities were often overlooked. But Osbourne was a passionate admirer of the Beatles, and you can hear their influence on the pastoral chorus of this song, before Tony Iommi powers in with a growling guitar line. John Lennon would undoubtedly have approved of Osbourne's seething critique of the music industry, summed up in the line: "Bog blast all of you." 4) ChangesSabbath revealed their soft underbelly on this 1972 piano ballad, written about a break-up that drummer Bill Ward was experiencing. "I thought the song was brilliant from the moment we first recorded it," said Osbourne, who later reworked it as a duet with his daughter, Kelly, and scored a UK number one the week before Christmas 2003. 5) Mr CrowleyInspired by notorious occultist Aleister Crowley, this track from 1980's Blizzard of Ozz allowed Osbourne to play up to his mock-satanic image. But is also helped him escape from the shadow of Black Sabbath, with a swirling, heavy-psychedelic sound, capped off by a blistering solo from his new foil, guitar virtuoso Randy listening: War Pigs and Iron Man are all-time classics; while Diary of a Madman and Suicide Solution are crucial chapters in Osbourne's solo songbook. Also check out Patient Number 9, the title track of his final album, which ended his career on a high.

James Bond star Rory Kinnear reveals extreme lengths the producers take to keep who will play the next 007 secret
James Bond star Rory Kinnear reveals extreme lengths the producers take to keep who will play the next 007 secret

Daily Mail​

timean hour ago

  • Daily Mail​

James Bond star Rory Kinnear reveals extreme lengths the producers take to keep who will play the next 007 secret

James Bond star Rory Kinnear has revealed the extreme lengths producers are going to in order to protect the franchise amid feverish speculation over who will play the next 007. The celebrated actor, who has played MI6 Chief of Staff Bill Tanner in four Bond films opposite Daniel Craig, has disclosed that scripts are being delivered by hand rather than emailed - a strict security measure introduced after the 2014 Sony Pictures hack that saw early drafts of Spectre leaked online. 'The script for James Bond is delivered by car,' Rory revealed on Jesse Tyler Ferguson's Dinner's On Me podcast. 'And if there are changes in the script, they are delivered by car.' The unprecedented leak more than a decade ago not only contained major spoilers for Spectre, but also the projected budget of $300 million made the film one of the most expensive to be made at the time. The cyber leak also contained celebrities' details and exchanges between executives slamming the ending, to have it rewritten multiple times. Producers were forced to immediately scrap digital distribution. Since then, the franchise has become infamous for its cloak-and-dagger approach - even among its own cast. Rory, 47, added of the script delivery strategy: 'They got burnt, so I understand why they do it.' The Olivier award winner starred in Quantum of Solace, Skyfall, Spectre and No Time To Die, and is one of the longest-standing actors in the current Bond universe. His comments come at a pivotal moment for Bond, as the franchise undergoes its most radical transformation in decades. Amazon, which bought MGM in an $8.5billion deal, now holds the creative reins, and has appointed Dune director Denis Villeneuve to take charge of Bond 26. The French-Canadian filmmaker, a self-confessed 'die-hard' Bond fan, promised to 'honour the tradition' of 007 while opening up the franchise 'to many new missions to come.' He is joined by powerhouse producers Amy Pascal and David Heyman, with Eon's Barbara Broccoli and Michael G. Wilson still involved behind the scenes. Casting, however, remains the hottest topic of conversation - and the race to replace Daniel Craig recently took a dramatic turn. While Kick-Ass and 28 Years Later star Aaron Taylor-Johnson, 35, remains the bookies' favourite, a surprise new contender has emerged: 37-year-old Scott Rose-Marsh. The relatively unknown British actor - whose credits include Wolves of War and Code of Silence - has leapt to eighth place on the Oddschecker leaderboard, overtaking heavyweights like Henry Cavill and Jack Lowden. Despite his lack of blockbuster experience, Rose-Marsh's sudden rise has set tongues wagging in industry circles. Sources say Villeneuve is keen to cast an actor who can grow into the role, rather than one already saturated by franchise fame. Tom Holland, Theo James, Aaron Pierre, Harris Dickinson, Jacob Elordi and James Norton also remain in the top ten, though insiders claim the director's shortlist has shifted several times since he took the reins earlier this summer. Meanwhile, on the Bond girl front, Euphoria and Anyone But You star Sydney Sweeney is widely tipped for a lead role. A source told The Sun: 'Sydney is the top name on the casting sheet for Bond. Denis believes she is hugely talented, as well as having an alluring appeal to younger generations — vital in modernising the franchise.' Sydney, 27, is reportedly close friends with Villeneuve and is being considered for a central role in the upcoming film - potentially as a high-stakes MI6 agent or a powerful femme fatale to match 007 blow for blow. Amazon is expected to officially unveil the cast later this year, with pre-production already underway and filming expected to begin in 2026. The release date is currently pegged for late 2027, though that may change depending on location availability. Bond purists were reportedly unsettled by news that filming may not take place in London due to a Central London ban next year. According to insiders, Liverpool is now a frontrunner to double for the capital - a choice previously used in major franchises such as The Batman and Captain America. A source said: 'This will no doubt irk Bond purists who already fear Amazon taking over the 007 franchise may lead to them making big changes. But Liverpool has become a well-known alternative to London for filmmakers. That doesn't necessarily mean the story is set there — but fans will spot it.'

Gaps in Len McCluskey's memory must be filled one way or another
Gaps in Len McCluskey's memory must be filled one way or another

Times

timean hour ago

  • Times

Gaps in Len McCluskey's memory must be filled one way or another

Len McCluskey has questions to answer RAY MCMANUS/SPORTSFILE In his last major investigation for The Times before his untimely death, Andrew Norfolk, the reporter whose work exposed the grooming gangs scandal, turned his forensic eye to the Unite trade union. In a series of reports for this newspaper, Mr Norfolk revealed that a company owned by a friend of the union's then general secretary, Len McCluskey, was paid at least £95 million for the construction of a hotel and conference centre in Birmingham initially meant to cost £7 million. This week an independent report commissioned by Sharon Graham, Mr McCluskey's successor at Unite, showed the situation to be even worse. Ms Graham had asked Martin Bowdery KC, a barrister specialising in construction, to investigate the hotel project, for which Mr McCluskey was a vocal advocate. The inquiry concluded that the cost of the hotel had in fact ballooned to £112 million. That was £74.5 million more than its market value. As a result, Unite has had to wipe £66 million from its accounts. An audit accompanying the KC's report concluded that under Mr McCluskey's leadership there was a 'pervasive fraud environment' at Unite. The Serious Fraud Office (SFO) is pursuing its own investigation. Mr McCluskey, an avowed socialist and admirer of Jeremy Corbyn, never shy of voicing his opinions on Labour politics, clearly has serious questions to answer. Mr Bowdery's report claims that the union leader was flown to watch his beloved Liverpool FC in two Champions League finals, in Kyiv and Madrid, by the Flanagan Group, the construction firm alleged to have overcharged Unite by at least £30 million when building the hotel. The report also lists five other occasions on which the union leader was taken to watch Liverpool, enjoying matchday hospitality courtesy of the Flanagans, whom he described as 'good friends'. Mr McCluskey said that as far as he could recall he paid his own way. Unite officials and lawyers were uneasy about Flanagan, which the report said had a history of 'poor performance, delays [and] cost overruns'. Mr McCluskey is said to have overruled them. He denies doing so, and through his lawyers has denounced Ms Graham's inquiry as 'inaccurate, selective and highly misleading'. The ultimate judgment will be made by the SFO but Ms Graham believes there is enough evidence to support criminal action against two 'very senior' former Unite officials. South Wales police are undertaking an investigation involving alleged bribery, fraud, money laundering and tax evasion. It is not often that The Times agrees with Ms Graham but she is to be commended for her courage in taking on vested interests within a vast and powerful union of some 1.2 million members straddling the private and public sectors. She told this newspaper of the 'horrendous' attacks she endured from supporters of Mr McCluskey after promising to investigate the hotel project. She has described being 'followed home' and subjected to 'despicable online abuse'. There is much to criticise about Unite's positioning under Ms Graham's leadership, not least its intransigence over refuse collection strikes in Birmingham, but whatever her politics, she is at least committed to uncovering the truth. As Ms Graham says, multiple investigations suggest 'rank incompetence … or something else' during Mr McCluskey's reign. It now falls to the SFO to establish what that 'something else' might have been. It should expedite its inquiry as swiftly as possible. Unite pays £1.5 million a year to ­affiliate to the Labour Party and contributes ­significant sums to individual Labour MPs. It is too significant a political player to remain under a cloud of suspicion about its past integrity. The facts as they pertain to Mr McCluskey must be established, even if recalling some of them appears to be beyond our Len.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store