Mic drop comment.
Hard agree. Worked for an instrument builder for a decade, of fixed-pitch esoteric instruments. Client community had a distinct minority who went all in on such things as 432 Hz woo-woo.
Happy to make them, with the footnote that instruments made to this or other custom-request references could not play in concert with most others.
No discernible difference, with one interesting qualifier: for acoustic (or emulated) instruments one is familiar with, there is an audible shift in timbre correlated with tuning to different resonances, most dramatically if you retune a given specific instrument.
This is because you are shifting the fundamentals and overtones of the instrument while keeping the natural resonances of the instrument fixed. This naturally produces a different "signature" of relationships between such frequencies and in the case of the instruments I was close to, in their internal resonance, which was completely defining of their "character."
(Something similar is going on with pitch-shifting algorithms which do "formant correction" to try to keep voices sounding natural within modest shift of pitch... we have deeply internalized expectations wrt the various resonant landmarks in human voices because of the bounded variation in their geometry and the physics of voice production; this is less so but absolutely still true of familiar acoustic instruments.)
One of the similarly anecdotal but significant "tells" of the placebo nature of perceived difference in 432 Hz and 440 Hz is to my memory, very few players were incapable of telling instrument key, let alone pitch referent, based on hearing them alone. (Knowledge of available instrument keys and tunings was commonly deep given the cult following they received.)