This is where Kurt sang In Utero [Pachyderm Recording Studio, Cannon Falls, Minnesota], from left to right: EV RE-20 (dynamic mic), Lomo 19a-9 (tube condenser mic), Sennheiser MD421 (U4 most likely, dynamic mic).

In this acoustic performance of Everlong on Howard Stern, Dave Grohl is using two RE20 microphones; One for vocals and another one for his Gibson Hummingbird.

in an interview with SOS parker reveals he recorded most of the vocals on the Slow Rush with a Electro Voice re-20, before he lost it in the malibu fire

Thom can be seen using a ElectroVoice RE20 in this photo.

I know that the vocals they cut over at CBS are Paul singing live right off the floor with the rhythm section into an Electro-Voice RE20, which was a relatively new mic at the time. They recorded the telephone section [of the song] over at CBS, as well. That character voice was also Paul, with a simple highpass filter engaged to give the telephone effect.”

The mic is demonstrated at 1:19 where he says 'Electrovoice RE-20' on the advanced studio recording techniques video 'Microphones Comparison'.

In this performance, Dan Auerbach uses a RE-20 from Electro-Voice for vocals.

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The bass, played by Iwan Gronow, goes through a Fender Bassman 100 or 300 through an 8x10 speaker. When not going DI, either an Electro-Voice RE20 or Neumann TLM 103 or beyerdynamic m380 microphone is used." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

According to Emusician, Chris Wolstenholme uses the Electro-Voice RE20 dynamic microphone with his Markbass cabinet.

In this 1999 South Bank Blur documentary, Damon was shown recording the vocals to So You starting at 4:20.

“For a pretty long time I’ve used an Electro-voice RE-20,” he said. “It’s the best microphone I own by a pretty long way. The diaphragm is pretty far in it so you don’t really have to use a pop filter. You can get a really in-your-ear, straight-up, true sound. I use one for kick drums too so it’s a good combo mic. It’s got similarities with a Shure SM7, but the SM7s are more bass-heavy, they sound more like modern radio whereas the RE-20 sounds like ’70s radio.”

Used "occasionally" on John Mayer's Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.

To capture Palladino's bass, his instrument typically went into either an Ampeg SVT or B-15 into an Avalon U5 mono instrument preamp and DI. “I took the throughput into his amplifier and usually put a FET 47 close up, and on occasion an RE20. Then I almost always put an NS-10 on his bass cabinet to get the ultralow stuff,” Franscoviak explains. “I would compress the DI and the FET 47 lightly, not in any way that would effect the dynamics of his performance, only for tonal reasons. I would never put a compressor on the NS-10.”