If anything, a lot of electronic music is music that no one listens to at home, hardly. It’s really only to be heard when everyone’s out enjoying it.

Byrne is contrasting electronic music’s social function with the domestic, private listening associated with much rock, folk, or singer‑songwriter traditions. The remark suggests that certain electronic genres are designed less as “at-home” contemplation and more as communal, bodily experience—music optimized for clubs, raves, festivals, and sound systems where volume, space, and collective energy complete the work. Implicitly, he’s also commenting on how technology and venue shape composition: repetition, texture, and beat can be more meaningful in a shared environment than in solitary listening. The quote frames electronic music as situational art—its full meaning emerges when people are together, moving, and “out” in public life.