“I wanna make this concrete/ I wanna make this firm,” sings New York City songwriter Katie Costello on “How Do We Know,” one song of five from the pop songwriter’s latest EP, The City In Me. While the song in question is existential in theme and statement, that opening line is a perfect musical declaration that places Costello’s music squarely in the spotlight, a concrete and firm flagpole marking a spot where a great new artist burst onto the scene.

KCRW was the first to pick up on the songstress, and others quickly followed suit. A Hotel Cafe residency certainly helped her standing while TV placements on shows like Private Practice nudged her even further. But unlike some songwriters who should find themselves grateful for the producer of some show choosing them, the programs utilizing Costello’s powerful pop constructs should thank the artist for providing such moving music — a wonderful soundtrack set to the exploration of young adulthood.

And that’s the theme here on The City In Me. Costello mentions in an upcoming interview here at Stereo Subversion that the songs here were birthed going back and forth from LA to NYC and finding her place amidst the two. The music box opening the obviously titled “Lost & Far From Home” hearkens back to a childhood bedroom feeling and the accompanying piano maintains the same innocent feel as the track takes a Brooke Waggoner turn.

That same comparison could be made of the opening “Cityscapes,” which features a jangling triangle and thunderous percussion juxtaposed with Costello’s piano melody. Her vocal turn reminds of Sixpence’s Leigh Nash here, before breaking into the triumphant Waggoner-esque chorus. The aforementioned “How Do We Know” feels like some of David Condos’ material from Smoking City – a similar city-oriented ode to Nashville.

The EP smolders a bit toward the end, although that doesn’t necessarily mean that “Ships in the Night” or “We Are The Way We Are” are necessarily poor songs. They simply don’t hold the weight of their predecessors. The former relies too much on the title’s analogy and the string section takes the song in predictable directions. It’s intended to be a moving, emotional piece, but the whole thing feels a bit heavy. The latter finds a fantastic whimsical ending after a bit boring beginning, and the final harmonies evoke the ending of Rosie Thomas’ These Friends of Mine.

The full-length is coming, entitled Lamplight, so until then, The City In Me provides a few songs for your enjoyment as you await the main course.