And I often think, "Wow, that's muddy and melodically contorted." Not all "solutions" to challenges are successes.
This "just a few extra notes at the bottom" view of linear tuning is a common, myopic view by re-entrant players. More important is that linear tuning provides a wider range of pitches in every position, and helps reduce the redundant unison notes in basic chords. There are other advantages I won't delve into (once again).
Each tuning has its strengths and weaknesses—to my mind, it's mistaken to regard them as interchangeable, or to think that just one tuning can do the work of both. (I also take this view of C and G tunings.) Too often, with "just one tuning" uke players, it's more a matter of "If all you have is a hammer, every problem looks like a nail," and while this may occasionally lead to fresh, interesting arrangements, generally it just leads to less satisfying ones. The right tool for the right job. Re-entrant tuning certainly gives uke a more distinctive character among the gamut of stringed instruments, and there are beautiful things you can do with it, but to settle solely on re-entrant tuning is, in my opinion, like tying one hand behind your back unnecessarily.