Rows of rare Mercedes, BMWs, Porsches and modern supercars provide the spectacle, but the more interesting thread is the amount of maintenance and organization required to keep such a large collection usable. Rather than treating the garages purely as a showroom, Mark McCann repeatedly points out dead batteries, weather damage, unfinished repairs and cars that have simply spent too much time outside. That willingness to show the collection in imperfect condition gives the tour more personality than a polished display of expensive machinery would have.
The variety is enormous. Highlights include two C63 Black Series cars with Aero packs, a low-mileage CLK DTM, an SF90, several generations of M3, a Porsche 993, a KTM X-Bow GTX, the Lamborghini Aventador SVJ and the McLaren P1. There are also much stranger additions, including a Peugeot associated with an extremely quick previous life, an Aston Martin Cygnet, a Renault 5 GT Turbo, rally machinery and inexpensive cars left over from earlier challenges. McCann's enthusiasm remains convincing because he seems nearly as interested in the oddball vehicles as he is in the headline hypercars.
The farm buildings are almost as important as the cars themselves. Old agricultural spaces have been repurposed into storage, workshops and potential expansion areas, while McCann explains that keeping the collection on his own property avoids what he estimates would be substantial third-party storage costs. The compromises are equally visible: even with multiple large buildings, there still is not enough protected space for everything. Cars such as the Cosworth and Mercedes 190E consequently become restoration projects partly because exposure and neglect have caught up with them.
A lengthy section devoted to starting stored vehicles could easily have become repetitive, but it provides some of the tour's most useful detail. Trickle chargers, battery maintenance and the different starting procedure for the rally car demonstrate that storing performance cars involves more than covering them and walking away. McCann also acknowledges learning these routines after experiencing damaged batteries, electrical drains and mould. The exact maintenance practices are presented from his own experience rather than as universal technical guidance, but they help make the ownership side of the collection tangible.
The organizational systems are similarly revealing. A simple board tracks which vehicles currently have insurance, tax and MOT coverage, while individual folders preserve V5 documents, service books, invoices and other records. McCann explains that poor organization previously made paperwork difficult to locate when selling cars, so the system is a practical response to problems created by owning too many vehicles to manage casually. It is one of the few collection tours where administration becomes part of the attraction, and it reinforces the central point that scale creates work as quickly as it creates luxury.
Not everything receives enough attention. Cars are introduced rapidly, sometimes with little beyond a model name, an anecdote or a comment about value, and the constant movement between garages, merchandise, trophies, sponsorship material and vehicles for sale makes the middle portion feel crowded. The sales section is particularly uneven: inexpensive project cars, a Bentley, a Rolls-Royce and a converted people carrier arrive one after another with speculative comments about restoration costs or potential future value. McCann occasionally qualifies these estimates himself, which helps, but prospective buyers would obviously need substantially more inspection and verification than the presentation provides.
The family interaction and self-deprecating moments keep the scale of the collection from becoming sterile. Forgotten starting procedures, jokes about excessive ownership and an assistant helping with the tour give the presentation a casual feel, while the trophies and discussion of off-road racing provide some context for why certain competition cars matter personally. By the end, the collection feels less like a carefully curated museum than an evolving automotive playground that is constantly creating another maintenance job, restoration project or reason to make space.
Pros
- Shows an unusually broad collection ranging from rare performance cars and hypercars to rally machinery, classics and inexpensive project vehicles.
- Gives meaningful attention to storage, battery maintenance, paperwork and road-legal status rather than presenting ownership as effortless.
- Imperfect cars such as the Cosworth and 190E make the collection feel more authentic and create clear future restoration stories.
- McCann's enthusiasm, personal memories and family interaction give otherwise expensive machinery a relaxed and approachable presentation.
- Repurposed farm buildings provide an interesting look at the practical infrastructure required to house a collection of this scale.
Cons
- Rapid transitions mean several notable cars receive only superficial descriptions before the tour moves elsewhere.
- Merchandise, sponsorship material and the extended vehicle-sales section interrupt the flow of the collection tour.
- Comments about particular cars being investments or potentially reaching certain values are largely personal assessments rather than detailed market analysis.
- The starting-and-maintenance sequence becomes somewhat repetitive despite containing useful ownership information.
The scale of the collection provides plenty of automotive spectacle, but the garages, maintenance routines and neglected projects ultimately make the tour more interesting than the expensive cars alone. Its loose structure occasionally works against it, yet the combination of rare machinery, practical ownership detail and visible imperfections creates an engaging portrait of what an enormous car obsession actually demands.
