Review: Arlo Parks @ The Prospect Building

By Stas Forte, Music Subeditor

‘This room is as much yours as it is mine,’ Arlo said as she beamed out at the audience. An easy familiarity filled the space, as she welcomed the audience into her world. On a chilly Sunday evening, Arlo’s endearing energy brought warmth to The Prospect Building, drawing on old favourites and the dynamic sounds of her latest record.

Arlo Parks has cemented herself as a fixture in UK pop since the release of her critically acclaimed debut album, Collapsed in Sunbeams (2021). Her third studio album, Ambiguous Desire (2026), reveals an evolution in her sound, still unmistakably Arlo: confessional, raw, and tender, but with a newfound grit, distinctly rooted in the club scene. Tracks by Eris Drew and DJ Swisha set the tone on the pre-show playlist, offering a taste of these new electronic influences.

This shift was particularly apparent on tracks like ‘Get Go’ and ‘Floette’, which brought heavier bass and breakbeats, to contrast Arlo’s dreamy vocals, translating incredibly well to a live, warehouse-style setting like The Prospect Building. Using a range of synths and samplers, the band, including Baird, the opening act, chopped and looped her live vocals, offering a fresh take on the studio recordings. These live arrangements pushed the tracks into more experimental territory, giving the crowd plenty to dance to.

Her diary-like lyrics continue to speak to a distinctly British experience of youth, from ‘Smokin’ hand-rolls / [...] DJing Goldie and Prince’ to the evocative ‘smells of chips and gin’. This relatability remains central to her appeal. Alongside these familiar snapshots, the album is peppered with references to the music and culture that inform her sound.

There are plenty of nods to the underground scene to be found, from London pirate radio ads to electronic icons like 808 State. Calmer tracks like ‘Nightswimming’ exhibit a sober darkness reminiscent of Burial, proving that Arlo’s is, in her own words, ‘a music fan above all else’.

Calling back to her earlier work, she showed off the versatility of her sound, performing the heartfelt ballads which first propelled her to fame. ‘Eugene’ and a stripped-back piano rendition of ‘Black-Dog’ brought a softer dimension to a set otherwise driven by heavier beats, while ‘Caroline’ had the crowd singing along to its euphoric harmonies, complemented by a sudden flood of bright, warm light.

There was an unapologetic humanity to Arlo’s performance as she candidly addressed the audience with a glowing grin. This openness carried through to ‘Senses’, featuring delicate vocals from Sampha, which offered a glimpse of a more vulnerable side, dwelling on the difficult realisation that you deserve better.

The accompanying visuals featured blurred, hastily filmed cityscapes, echoing the new album’s cover and its rawness. Their hazy quality seemed to spill onto the stage as Arlo floated around, giving herself over to every beat, and emitting a contagious joy that the audience embraced wholeheartedly.

As the night drew to a close, the crowd danced their way out of the venue, carrying with them some of the warmth Arlo had brought into the room.