Things to Do in York

Step into the Museum of Ice Cream, a world of 14+ immersive playscapes, unlimited ice cream treats, and one-of-a-kind desserts you won't find anywhere else. Dive into the iconic Sprinkle Pool, explore bold and colorful rooms, and create memories that last a lifetime. The sweetest adventure for the whole family is waiting. Book your tickets today.

Stigmata Proudly Presents LENE LOVICH UK 2026 TOUR

Please Please You & Brudenell Presents... C. O. L. A. is sort of a self-titled album. It’s an acronym for Cost of Living Adjustment, a fitting conceptual framework for the band’s third record. Why? Because C. O. L. A. considers, among other things, socialism vs. hell. It considers: rolling the dice of life. The eerie and sweet pangs that nostalgia can provoke. This is not new territory for band members Tim Darcy, Evan Cartwright, and Ben Stidworthy. It is, in Cartwright’s words “a deepening of what we’ve been doing.” C. O. L. A. is an intricate, beautiful, and sometimes strange record. It is the band’s most refined offering. A perfection of carefully honed aesthetic impulses. Cola, as a band, says Darcy is defined by its “tasteful minimalism.” A deep appreciation for making music that is romantic, subtle, and deceptively intense. C. O. L. A., however, is the band’s most maximalist work to date. This is a little tongue and cheek (“We were so worried,” says Cartwright, “About all the songs on this record being too different”). In practice, this maximalism means that a song like “Hedgesitting,” has both live drums and a sample drum loop. “Hedgesitting,” is a gorgeous, lush song. It’s like a deconstructed, chopped & screwed b-side from the Cure’s Disintegration. It’s also a little indebted to Sarah Records. “When you were young,” Darcy sings at the song’s start, “you came to make it.” C. O. L. A., like everything written by the band, is inherently collaborative. The band writes everything separately, then comes together and works in the studio. Look again to “Hedgesetting,” to see this in action, which started out with chords that Darcy had sent, then the band expanded it together, with Stidworthy remixing it right before heading to the studio. This division of labor works intuitively. It is a part of the band’s DNA to say, take an arrangement Stidworthy wrote, and then have Darcy and Cartwright build upon it. Take “Favoured Over the Ride,” as an example. “I wanted to create a dusky, melancholy palette for Tim to write lyrics for,” says Stidworthy. The song starts with a lonely, dreamy guitar riff. Then there’s a crisp line of bass and it all comes into focus: “What’s on the ceiling that’s caught your gaze?” sings Darcy. It’s a moment of clarity on a record that is interested abstraction. C. O. L. A. is full of these clarifying moments: where a whole swirl of feelings become so clear that it almost hurts a little bit. One of the goals with C. O. L. A. was to have the melody guide the lyrics. This is a distinct shift from the sprechgesang that has been an anchor for many of Darcy’s earlier records. Here, the vocal melodies are on the same level as all of the other melodies on the record. But the lyrics are no less poetic, no less precise than anything Darcy has written before (“It’s not,” he jokes, “like we’re making a Cocteau Twins song.”) The result is a record that is ruthlessly aware of all of its parts, and treats them all as equally important. C. O. L. A. is a record that speaks to itself: where all of its parts are in direct conversation with each other. Sounds do not blur, even when they are expansive. It is abstract, oblique, sometimes strange, whatever you want to call it. But it is also beautiful, in the classic sense. Beautiful like a painting can be beautiful. Really, really gorgeous. Almost chiseled in the way it plays so deliberately with experimentation. On “Skywriter’s Sigh,” for example, things sizzle and flicker. It touches on the sublime. It is Cola, the band, at their very best.

The Rosadocs are a five-piece alt-rock/indie band rapidly rising through the UK music scene, known for their heartfelt lyricism, powerful guitar-driven melodies, and arena-ready choruses. With a sold-out UK tour for Spring 2026 and continued demand across the country, the band stand as the most requested independent act on the BBC East Midlands Radio Network, with further backing from Radio X, XS Manchester, and multiple BBC Introducing stations. The Rosadocs have shared stages with major acts including Madness, The Sherlocks, and The Lathums, and have recently supported Lottery Winners, The Enemy, and Mericans. They will also join The Lilacs on tour this February ahead of their nearly sold-out headline run next spring. Festival season is already looking exciting with confirmed slots on Y Not Festival, Truck Festival, Kendal Calling, and a main stage slot on Tramlines, with more to come!

Ages 18+ Doors 7:30pm Show Start 8:00pm Laugh Out Loud Comedy Clubs - Treat yourself to a laugh! Come and see the best in live stand-up with comedians from such shows as BBC2's Mock The Week, Channel 4's 8 Out of 10 Cats, BBC1's Michael McIntyre's Comedy Roadshow etc. Plus the best of the rest from around the world. Each show has three top comics plus the host MC. Amongst many others we’ve booked the likes of Jason Manford, John Bishop, Chris Ramsey and Sarah Millican before they hit the big time. - So come and see more brilliant acts! - Three top professional comedians make you laugh - Different comedians each month - Full bar service and two interval breaks to refill your glasses - Ideal for a regular outing or for celebrating special occasions Customer Reviews 'I liked it so much I booked for 28 people - they all loved it!' Will Sherret 'Ace night' Julie Lovatt 'Fantastic night yet again' Fleur Spafford 'Great night, everyone must try going, very funny' Lee Evans (not the Lee Evans!) There are all real reviews from real customers so get booking now if you fancy a laugh.

The Crescent & The Black Swan Folk Club presents... El Pony Pisador is a lively and unique band from Barcelona, known for an eclectic blend of musical styles and humorous, adventurous spirit. Their mix of folk sounds from all over the world results in a fun and energetic sound that’s unpredictable and full of personality. From their native Catalan songs and dances to Celtic and Mediterranean tunes, yodelling, Tuvan throat singing, to even Georgian polyphony or Balkan polyrhythms. El Pony Pisador is well-regarded for their ability to engage audiences with their high-energy performances, witty lyrics, and a mix of both traditional and modern influences. Their live shows have been shaped by the experience of playing at festes majors (Catalan patronal festivities), which are not just a concert, but a cultural celebration where the whole town participates. This gives their concerts a festive and inclusive atmosphere, making them a great fit for festivals and international events for all ages. As they bring the spirit of their cultural heritage abroad, El Pony Pisador offer spontaneity and make the crowd participation a central part of the show, making the audience feel more than just spectators. They have released three albums, with the latest one featuring The Longest Johns, a Sea Shanties group from England. Currently, El Pony Pisador has just published its fourth album, “Ocells” in early

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