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Home ยป ๐Ÿš—๐Ÿ”ฅ THE NEW GRAND TOUR REVIEW: NEW FACES, SAME MAD MACHINERY โ€” BUT CAN THEY ESCAPE CLARKSONโ€™S SHADOW? ๐Ÿค˜

๐Ÿš—๐Ÿ”ฅ THE NEW GRAND TOUR REVIEW: NEW FACES, SAME MAD MACHINERY โ€” BUT CAN THEY ESCAPE CLARKSONโ€™S SHADOW? ๐Ÿค˜

Michael by Michael
4 September 2026
in TV Shows That Rock
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Replacing Jeremy Clarkson, Richard Hammond and James May on The Grand Tour is a bit like asking three brave musicians to headline Download immediately after Black Sabbath. ๐ŸŽธ๐Ÿ˜ˆ

You might be talented. You might know exactly what youโ€™re doing. You may even bring enough horsepower to rearrange the internal organs of everyone in the front row. But the moment you walk onstage, thousands of people will be standing there with folded arms, waiting to compare you with the legends who came before. ๐Ÿ๐Ÿ”ฅ

No pressure, then. ๐Ÿ˜ฌ๐Ÿ”ง

The newly rebooted Grand Tour arrived on Prime Video on 4 September 2026, with all six episodes released together. James Engelsman and Thomas Holland โ€” the pair behind motoring channel Throttle House โ€” are joined by trainspotter, internet favourite and genuine petrolhead Francis Bourgeois. Together, they inherit one of the most famous poisoned chalices in motoring television. ๐Ÿš—๐Ÿ’จ๐Ÿ“บ

So, have they stalled on the starting line, or has The Grand Tour found another gear? โš™๏ธ๐Ÿ‘€

Here is The Riff Report verdict on the opening episode โ€” with a few mild spoilers ahead. โš ๏ธ๐Ÿค˜

๐Ÿšจ FIRST THINGS FIRST: THEY ARE NOT CLARKSON, HAMMOND AND MAY

Thank goodness for that. ๐Ÿ™Œ

Trying to manufacture another Clarkson, Hammond and May would have been a complete disaster. Their chemistry was built over more than two decades of arguments, insults, catastrophically bad decisions and the sort of friendship where setting fire to your mateโ€™s car counts as emotional support. ๐Ÿ”ฅ๐Ÿš™๐Ÿ˜‚

Engelsman, Holland and Bourgeois wisely avoid performing impressions of the old trio. The new presenters feel younger, more internet-savvy and considerably less likely to start an international incident over a number plate. ๐ŸŒ๐Ÿ˜ˆ

That does mean the reboot initially feels calmer. The old programme often behaved like three divorced dads had been handed an unlimited budget, several supercars and absolutely no adult supervision. The new version is friendlier, tidier and more polite. ๐Ÿ’ณ๐ŸŽ๏ธ๐Ÿ’ฅ

Perhaps a little too polite at times. ๐Ÿ‘€

๐Ÿ”‘ A SMART HANDOVER โ€” WITH THE OLD TROUBLEMAKERS STILL LURKING

The programme knows exactly what viewers are thinking, so it does not pretend the past never happened. ๐Ÿง ๐Ÿ“บ

The opening includes a wonderfully awkward pilgrimage to Jeremy Clarksonโ€™s pub, where the newcomers seek the blessing of the man whose enormous boots they are about to fill. Clarksonโ€™s appearance provides a clever bridge between the two eras, while Richard Hammond and James May also remain part of the wider handover. ๐Ÿบ๐Ÿ”‘๐Ÿš—

It is a reassuring move. The original trio are not erased, replaced or shoved into the television equivalent of a locked garage. They are treated like the founding members of a legendary band who have handed the instruments to a new line-up โ€” although they are probably still hiding backstage, waiting to unplug something important. ๐ŸŽธ๐Ÿ”Œ๐Ÿคฃ

Once that ceremonial passing of the keys is complete, the newcomers head for California and get stuck into the sort of gloriously excessive machinery that has always powered the show. ๐ŸŒด๐ŸŽ๏ธ๐Ÿ”ฅ

๐ŸŽ๏ธโœˆ๏ธ SUPERCARS, JENSON BUTTON AND JETS โ€” THATโ€™LL DO NICELY

The first proper challenge throws the trio into outrageous performance cars before sending them across California, through Bombay Beach and towards the Thermal Club. ๐ŸŒด๐Ÿ›ฃ๏ธ

There are huge engines, expensive tyres, sweeping desert roads and enough glossy cinematography to make an old hatchback feel personally inadequate. ๐ŸŒต๐ŸŽฅ๐Ÿ’จ

Former Formula One world champion Jenson Button is brought in for a performance test, while the climax involves a high-speed contest with aerobatic jets. It is loud, ridiculous and completely unnecessary โ€” which is precisely what you want from The Grand Tour. ๐Ÿโœˆ๏ธ๐Ÿ”ฅ๐Ÿค˜

Better still, the presenters are not merely standing beside the cars and reading somebody elseโ€™s opinions. They genuinely understand the machinery, can explain what it is doing and, crucially, are prepared to drive the blooming things properly. ๐Ÿ”ง๐Ÿง ๐Ÿš—

That authentic enthusiasm gives the new series its strongest pulse. โค๏ธโ€๐Ÿ”ฅ

๐Ÿš‚๐Ÿ”ฅ FRANCIS BOURGEOIS COULD BE THE SECRET WEAPON

Anyone who only knows Francis Bourgeois as the wonderfully enthusiastic bloke who films himself reacting to trains may be in for a surprise. ๐Ÿš‚๐Ÿ˜ฒ

He is not there simply to provide internet recognition or make excited noises whenever something fast appears. His mechanical knowledge and feel for the cars quickly become obvious, while his slightly eccentric presence gives the trio a useful wildcard. ๐Ÿƒ๐Ÿ”ฉ๐ŸŽ๏ธ

Engelsman and Holland already possess a natural rhythm from their years working together on Throttle House. They know when to tease each other, when to let the cars do the talking and how to turn proper motoring knowledge into accessible entertainment. ๐ŸŽคโš™๏ธ๐Ÿ˜„

Bourgeois arrives as the unpredictable third ingredient. At first, you can almost see the gears turning as all three work out where they fit, but there are flashes of something promising underneath. โš™๏ธโœจ

The chemistry is not fully cooked yet, butt โ€” but it is certainly warming up. ๐Ÿ”ฅ๐Ÿค˜

โœ…๐Ÿ”ฅ WHAT WORKS?

The cars look spectacular. The locations feel enormous. The photography remains absolutely gorgeous. The challenges carry the expensive, overblown silliness viewers expect, and the new hosts are clearly petrolheads rather than celebrities who have been handed a script and told which end of the car is the noisy bit. ๐ŸŽ๏ธ๐ŸŒ๐Ÿ“ธ

There is also a welcome freshness to seeing presenters who appear genuinely thrilled to have been given this opportunity. That excitement is infectious. You get the feeling they would still be talking about the cars if every camera suddenly stopped working. ๐Ÿ˜๐ŸŽฅ๐Ÿš—

The programme feels modern without turning into a frantic social-media compilation. It respects the audienceโ€™s knowledge, keeps the technical chat understandable and still finds room for jokes, speed and jet-powered lunacy. ๐Ÿค“๐Ÿ’จโœˆ๏ธ

โš ๏ธ๐ŸŽ WHAT NEEDS MORE HORSEPOWER?

The biggest missing ingredient is unavoidable: history. ๐Ÿ•ฐ๏ธ

Clarkson, Hammond and May could generate comedy simply by standing beside a broken vehicle and glaring at one another. The new presenters have not yet earned that shorthand. Their exchanges can feel careful, and there are moments when the show is so determined to reassure existing fans that it forgets to declare what this new era wants to become. ๐Ÿš™๐Ÿ’€๐Ÿ‘€

The debut also sticks very closely to the established formula. Beautiful location? Check. โœ… Three absurdly fast cars? Check. โœ… Racing driver? Check. โœ… Aircraft doing something dangerous nearby? Of course. โœˆ๏ธ๐Ÿ’ฅ

It is entertaining, but also familiar enough to make you wonder whether the programme has changed its drivers without altering the sat-nav. ๐Ÿ—บ๏ธ๐Ÿค”

The new trio need permission to become messier, stranger and more argumentative. Give them challenges that expose their personalities rather than simply demonstrating the production budget. Let the friendships develop, let the bad decisions breathe and let the inevitable disasters happen. ๐Ÿ’ฅ๐Ÿ˜‚๐Ÿฟ

Chemistry cannot be fitted in the workshop. It needs mileage. ๐Ÿ”ง๐Ÿ›ฃ๏ธ

๐Ÿค˜๐Ÿ”ฅ THE RIFF REPORT VERDICT

The new Grand Tour is not the motoring television apocalypse some viewers feared โ€” and it is not an instant replacement for Clarkson, Hammond and May either. ๐Ÿš—๐ŸŒ‹

It is a promising reboot powered by three knowledgeable, likeable presenters who clearly adore cars. The first episode delivers speed, spectacle, jokes, beautiful filming and one gloriously bonkers showdown with jets. What it does not yet possess is the wild, effortless chemistry that turned the old trio into television royalty. ๐Ÿ‘‘๐ŸŽ๏ธโœˆ๏ธ

But expecting that immediately would be daft. ๐Ÿคช

This feels less like a legendary band being replaced and more like a new group playing its first major festival set beneath an enormous banner carrying somebody elseโ€™s name. There are nerves, a few cautious moments and an audience waiting to be convinced โ€” but there is talent on that stage. ๐ŸŽช๐ŸŽธ๐Ÿ”ฅ

Let them turn up the amps, make a few mistakes and find their own sound. ๐Ÿ”Š๐Ÿค˜

The Grand Tour has survived the driver change. Now it needs to stop checking the rear-view mirror. ๐Ÿชž๐Ÿ’จ

โญ๐Ÿ”ฅ RIFF REPORT RATING: 3.5 OUT OF 5 BURNING TYRES ๐Ÿ”ฅโญ

Fast, beautifully made and far better than the doom merchants predicted. The chemistry needs more miles, but there is enough under the bonnet to make this new era worth following. ๐ŸŽ๏ธ๐Ÿ’จ๐Ÿค˜

The new six-part series of The Grand Tour is streaming now on Prime Video. ๐Ÿ“บ๐Ÿฟ


What did you think, butt? Are James, Thomas and Francis worthy of the keys, or should The Grand Tour have parked up for good when Clarkson, Hammond and May left? Let us know! ๐Ÿ”‘๐Ÿš—๐Ÿ‘‡

Proudly Welsh. Proudly Loud. Zero Apologies. ๐Ÿ‰๐Ÿค˜๐Ÿ”ฅ

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Michael

Michael

๐ŸŽธ About Michael Michael is the founder, editor and chief riff wrangler of The Riff Report, an independent Welsh rock, metal and alternative music publication built by fans, for fans. A lifelong rock and metal fan, Michael has spent years immersed in the music, culture and community that surround the heavier side of life. From discovering new bands and digging through classic albums to standing in muddy festival fields, squeezing into packed venues and spending far too much time near the front of a stage, music has always been much more than background noise โ€” it is a massive part of who he is. That passion eventually became The Riff Report, a publication created to celebrate the bands, artists, venues, festivals, photographers, promoters and fans who keep the rock and metal world turning. Michael spends much of the year covering gigs, festivals, tours, album releases, new singles, interviews and music news, with a camera never too far away and a press pass usually hanging somewhere around his neck. Whether it is a huge arena show, a major outdoor festival or a tiny grassroots venue packed with people discovering their new favourite band, he believes every part of the scene has stories worth telling. For Michael, one of the biggest joys of music journalism is being able to shine a light on artists at every level. The Riff Report is just as interested in the hungry independent band playing to 50 people as it is in the global act headlining to 50,000. Supporting unsigned, independent and grassroots musicians is a huge part of the publicationโ€™s identity, because every legendary band started somewhere. Sometimes the next big thing is not on a massive billboard or a major-label playlist โ€” sometimes they are crammed onto a tiny stage in a pub, plugging in their own gear and hoping somebody in the room remembers their name. Michael wants The Riff Report to be one of the places that remembers.

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