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The profile · researched 3 October 2026
BAYLI: the Brooklyn band kid who rebuilt herself for the club
Bayli Mckeithan spent most of a decade fronting a Rick Rubin-signed Brooklyn rock band before starting again alone in 2018. Eight years on, she has closed out a trilogy of EPs, remade it for the dancefloor, and spent 2026 opening North American theatre tours for BENEE and Rebecca Black.
A Rick Rubin signing, and the band that quietly ended
Bayli Mckeithan grew up in Brooklyn, in a family her mother started after emigrating from the United Kingdom to New York as a teenager and raising four children. Music arrived early and collectively: as a teenager Mckeithan formed the rock band The Skins with her siblings Reef on drums and Kaya on bass and vocals, alongside guitarists Russel Chell and Daisy Spencer.
The group was signed by Rick Rubin, released the EP Still Sleep, and toured with DNCE. Rolling Stone placed them among its ten new artists to know in 2016, which is roughly where the trajectory stalled. The band left its label and went on hiatus in 2018, then split without acrimony. Nearly a decade of Mckeithan's working life ended with it.
What followed was not a reinvention so much as a retreat into craft. She signed a songwriting deal with Warner Chappell Music in 2018 and started writing for and with other people, including Justin Tranter, Blu DeTiger and Jesse McCartney — a quieter apprenticeship in pop construction than fronting a guitar band had ever required.
The Stories trilogy, released in instalments
The solo catalogue begins in 2018 with the single "MYOB: Or Whatever", co-written with Tranter, and a mixtape called Summer. A run of singles followed in 2020 — "sushi for breakfast", "boys lie" and "clown shit" — each pushed out with official remixes, establishing a pattern she still works: release the song, then release the versions.
The first proper statement was the EP stories from new york, out in September 2021, built as something close to memoir. Its most quoted track, "16", began as autobiography and became something else entirely when her mother died unexpectedly during the making of the record; the song now functions as a memorial. Stories 2 arrived on 21 October 2022, carrying "Telly Bag", which The Fader singled out as a song worth hearing and which was widely read as a queer club record. Both (Remix Pack) followed in November 2023.
Across the same stretch she accumulated the kind of credits that signal where she sits in the ecosystem rather than in the charts: "demon time" with Mura Masa, "Spend It" with Gia Woods, remix work touching Junglepussy and SEBii, and tracks with iLoveMakonnen, Duckwrth and Little Sis Nora. Live, she headlined Mercury Lounge in 2021 and Elsewhere in 2023, played Coachella in 2023, NYC PrideFest in 2024 and Simple Life Festival in Shanghai the same year, and supported Magdalena Bay, Slayyyter, Shygirl and KYLE.
NO RE-ENTRY, and the turn to the dancefloor
NO RE-ENTRY, released in November 2025, closed the Stories trilogy across nine tracks and moved the sound decisively toward dance and club production. Jon Santana, who has worked with Brooke Candy, and Malik Ninety Five, who has worked with Doechii, shaped it. The guest list — Kevin Aviance, Cortisa Star and Fetish — reads as a deliberate placement within New York ballroom and club lineage rather than within alt-pop.
Mckeithan framed the record as a high-femme manifesto written for the people who cry in clubs and keep dancing anyway, and described it as a thank-you and a farewell to an era running from the 2010s into the early 2020s that, in her account, both tested her and pushed her forward. "fem-onomics" went out ahead of it; "Lucky Number One" arrived with a video.
The remix habit then did the heavy lifting. NO RE-ENTRY (Nano Mixes), a fifteen-track reworking of the EP, landed on 16 June 2026 and extended the record's life by roughly seven months — a cheap and effective way to stay in rotation without a new album.
Where she stands in October 2026
The new material in 2026 has come as singles rather than a project. "Monster" opened the era, followed by "Everyone" by late May — a club record arguing for the dancefloor as an open room rather than a guest list, built on melodic rap phrasing and bubblegum visuals. On 22 July she turned up on Lexie Liu's EP Pop Girls Club, sharing "POP GIRL" with Isabella Lovestory. She played LadyLand in Brooklyn on 27 June.
The touring, meanwhile, has been relentless and almost entirely in the support slot. In spring 2026 she opened for BENEE on the Particles tour, a run of club and theatre dates across the United States and Canada. Since late September she has been on the road again with Rebecca Black's Exhibitionism on Tour — Rebecca Black as: Miss Delicious, announced on 20 July 2026, a 27-date headline run that began at Royale in Boston on 23 September behind Black's album Age of the Exhibitionist, released on 4 September.
The remaining itinerary is the clearest measure of her current reach, because the rooms are not hers: White Oak Music Hall in Houston on 3 October, The Underground in Charlotte on 6 October, 9:30 Club in Washington on 15 October, Union Transfer in Philadelphia the following night, two nights at Webster Hall in New York on 17 and 18 October, Club Soda in Montreal on 20 October and Danforth Music Hall in Toronto on 21 October, then House of Blues Chicago, Varsity Theater in Minneapolis, the Gothic in Englewood, Wonder Ballroom in Portland, The Showbox in Seattle and the Hollywood Theatre in Vancouver, before the Castro Theatre in San Francisco on 3 November and the Fonda in Los Angeles on 5 November. A date at ZIG in São Paulo on 10 October sits in the middle of the run.
Twenty-five minutes, no band
The opening set is lean by design. At Cat's Cradle in Carrboro, North Carolina on 21 March 2026, on the BENEE tour, she played about twenty-five minutes alone — no band, no dancers, backing tracks and a microphone. The songs drew from across the catalogue rather than only the newest record: "SUGARCOAT", "fem-onomics", a cover of Frank Ocean's "Super Rich Kids" and, reaching back to 2020, "sushi for breakfast".
The crowd work is structural rather than incidental. Before "Passenger Princess" she picked someone out of the audience and crowned them princess, which is the sort of bit that reads as corny in description and tends to land in a room of a few hundred people. The reviewer at that show scored the set 3.5 out of 5 and credited her with holding the stage by herself and warming the room properly; audience members polled on the night averaged slightly higher.
The criticisms were specific and worth taking seriously, because they are the criticisms of a format rather than a performer: her vocals wanted more volume in the mix, and at least one person in the room missed live instrumentation behind her. For a singer who spent most of a decade in a band with her siblings, that is a pointed note — and the thing a headline tour of her own would be able to answer.
The show, now
A BAYLI set in autumn 2026 is a support slot and runs to roughly twenty-five minutes, performed solo — no band, no dancers, vocals over backing tracks. The selection is a career sampler rather than an album run-through: at Cat's Cradle in Carrboro on 21 March 2026 she played "SUGARCOAT", "fem-onomics", a cover of Frank Ocean's "Super Rich Kids" and 2020's "sushi for breakfast", and pulled an audience member out to be crowned princess before "Passenger Princess". Staging is minimal, the energy is front-loaded, and the job is to warm a theatre for someone else. That reviewer gave it 3.5 out of 5 and said she held the stage alone; the complaints from the floor were that the vocal needed more volume and that the backing tracks wanted replacing with a live band. Since late September she has been opening for Rebecca Black in rooms including 9:30 Club, two nights at Webster Hall, Danforth Music Hall and the Fonda Theatre.
Researched from en.wikipedia.org · labs.songkick.com · musicscenemedia.com · consequence.net · readdork.com · melodicmag.com · bustle.com · livenation.com
Pictures
Photographs from Wikimedia Commons, credited
Justin Higuchi · CC BY 2.0
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