The conclusion consolidates understandings of theatrimusicality as both dramaturgical strategy and hermeneutic tool for contemporary performance practices at the interstice of music and theatre. It reaffirms spectaurality as a mode of engagement that entwines listening and seeing, effecting an epistemological shift beyond binarisms while redressing disciplinary hierarchies (sound over gesture; visuality over aurality). Recapitulating the chapters—from visible music and virtuosity, through political assemblies of the ‘And’, spectaural storytelling and choreomusical embodiment—the chapter reasserts theatrimusicality’s and spectaurality’s potential in yielding alternative interpretive and affective experiences. The book thus advocates relationality as method and ethic, locating performance as an interface of intersensory perception. The concept of the interface is further expanded to include techno-theatrimusicality. Using Yahama and Kaiji Moriyama’s Mai Hi Ten Yu, Ryuichi Sakamoto and Tin Drum’s Kagami and Jennfier Walshe’s Ultrachunk as examples, the chapter concludes as a musing on theatrimusicality as it interfaces with human-machinic systems, mixed and virtual realities and algorithmic agents. It asks how such techno-theatrimusicalities recalibrate authorship and intentionality, and the ways spectaurality becomes reconceived as a practice of decoding technodramaturgies—a seeing of the musicality of algorithms and a listening to the theatricality of codes.