It's also worth keeping in mind that as more Japanese comic publishing moves to web-first (or web-only) publishing, sites like KadoKomi and even Jump+ don't really seem to be as beholden to demographic-based classification (although it's still relatively uncommon to intermingle seinen / shonen with shojosei series). And for ongoing series, especially those with subtext, they may or may not get the 百合 tag.
All I know is that this is an Ohsawa Yayoi series with her up to the tricks she got up to in the back half of 2DK G-Pen without the fluff and I'm here for it.
The Moon On A Rainy Night
Kuzushiro seems pretty allergic to having any of her major works tagged as yuri, for whatever reason. Living With My Brother's Wife stayed squarely in the subtext zone (while at the same time having an explicitly lesbian side character), and A Workplace Where You Can't Help But Smile is basically Fuzuroi no Renri if you filtered all the really gay stuff out and just left the subtext.
Run Away With Me Girl
Battan seems to be comfortable mostly being published in josei magazines and just happening to include a lot of queer themes in her work, in the same way that Tomoko Yamashita mostly publishes in josei magazines while also publishing a decent amount of BL (and when she does write queer female characters, they tend to be more grounded depictions of bisexuality or lesbianism than is typical in most yuri).
I think in general it's probably easier on your heart to just read a work and see where it goes and not worry about whether it's going to have a yuri ending by reading the tags. But I'm sorta rooting for Pinky Candy Kiss to go a poly route, so I suppose that renders my judgment suspect.