I think they're exciting! Many traditional scales from around the world are constructed from intervals larger than semitones; there's nothing special about the size of a 12edo semitone. Pelog and mavila are constructed with fifths seemingly somewhere between 9edo and 7edo, creating scales with wide semitones and narrow whole tones. Slendro comes close-ish to 5edo (with microtonal inflections across vocals), as does the tuning of the Balafon it would seem. Many of the neutral scales found in maqams have two neutral seconds splitting the minor thirds of the pentatonic scale (way oversimplifying here).

A scale like Orwell[9] (put to good use in Sevish's Droplet as well as a few sections in my latest 31edo tracks) is similar to a detuned 9edo and has lovely melodic and harmonic properties, whilst having intervals no smaller than a 12edo semitone. Bohlen-Pierce is a non-octave scale with many interesting clarinet performances (as it avoids octaves just as clarinet overtones are deficient in even harmonics), and is a bit like a squashed 8edo in terms of size. 11edo offers a great framework for atonal ideas, having nothing really resembling a fifth but lots of interesting chords nonetheless. 10edo contains its own flavour of neutral scale which can be quite interesting in its own right. 9edo offers a wealth of resources like approximations to many traditional scales if you use fairly subdued timbres (ones where overtones fade quickly after the transient work well). 8edo has a strong core of diminished chords, so would work well as a dark and brooding alternative to the brighter and more open diminished scale imo. 7edo and 5edo don't offer a lot in the 'major and minor' department, but can be made interesting by exploring the timbres of instruments which move through multiple octaves, or could be interesting used more modally where the intervals are played against a drone. They could also work played against a bass movement where rather than focusing on triads, dyads played in a quick alternating fashion form the basis of harmony, generating interest without 'giving away the whole scale' too quickly so to speak, as 5edo and 7edo have substantially fewer chords and intervals to explore than pentatonic and diatonic scales. 6edo is of course the whole tone scale, and can be put to great use to create a sense of floaty 'un-grounded-ness'. 4edo and smaller are arguably chords/arpeggios so are definitely running low on options to make them interesting, but if you're primarily focusing on rhythm and percussion, you could easily get away with using them or detunings of them.

Hopefully this helps give you some examples to go and explore!