A couple of Fender Concerts were sold at auction for $77,500 as part of Christie's The David Gilmour Guitar Collection auction. The listing has the following description:

FENDER MUSICAL INSTRUMENTS, FULLERTON, CIRCA 1982 AND 1983 A PAIR OF GUITAR AMPLIFIERS, CONCERT One bearing the serial number F332178, stamped on the chassis, the other stamped F210503 18 ½ in. (47 cm.) high, the cabinet; 23 ¾ in. (60 cm.) wide; 11 in. (28 cm.) deep

The Fender Concert amplifier was part of the II Series line produced by Fender under Paul Rivera from 1982 to 1986, among the last amplifiers to be made at Fullerton. The amps were designed with both a clean and mid-boost gain channel to compete with the Mesa Boogie Mark Series amps that were popular at the time. A stereo set up of the two Fender Concert amplifiers was first incorporated into David Gilmour’s session rig in mid-1984 and used during recording sessions at London’s AIR Studios for Paul McCartney’s 1984 soundtrack album Give My Regards to Broad Street. With his 1984 Candy Apple Red 57V Stratocaster (lot 56) fed into the two Fender Concert amps, Gilmour performed a memorable solo on the McCartney ballad No More Lonely Nights, requesting that his session fee be donated to a charity of McCartney’s choice. The Concert amps made a notable appearance at the legendary Live Aid concert in London’s Wembley Stadium on 13th July 1985 when David Gilmour performed a set as part of Bryan Ferry’s band, which included the songs Sensation, Boys and Girls, Slave to Love and a cover of John Lennon’s Jealous Guy. Numerous photographs and live film recordings exist of the performance, showing a total of four Fender Concert amplifiers stacked on top of four Fender speaker cabinets on the stage. The concert amplifiers remained in Gilmour’s session and stage rig through 1985, used during recording of Pete Townshend’s 1985 solo album White City: A Novel and for live performances with Townshend’s short-lived supergroup Deep End in October and November 1985, including a live performance on cult British television show The Tube on 11th October and two nights at London’s Brixton Academy on 1 and 2nd November in aid of Townshend’s Double O charity.

As documented on Gilmourish and on Spare Bricks, one of the Fender Concert amps was also used on A Momentary Lapse of Reason, particularly for the intro of "Sorrow".

intro; the guitar was recorded with a Big Muff into a Fender Concert combo and fed through Floyd’s Quad PA system at the LA Sports Arena.

Meanwhile, Kit Rae notes that Gilmour used four different Fender Concerts for Live Aid.

A modified version of the rig was used on July 13th, 1985 when Gilmour played a set of songs with Bryan Ferry's band for the Live Aid benefit concert in London's Wembley Stadium. Keyboardist/guitarist Jon Carin was a member of Bryan Ferry's backing band at this time, and he would later work extensively with Pink Floyd in that same period. David can be heard on Slave to Love and John Lennon's Jealous Guy. He used four Fender Concert combo amplifiers stacked on top of four Fender speaker cabinets. The lower cabs do not appear to be mic'd. As sated above, the clean channel of the Concerts sounded very much like a black face Twin Reverb.

Chris Buck, a guitarist known for his work in rock and blues genres, utilizes the Fender Concert (Rivera Era) amplifier live, alongside a 1967 Fender Super Reverb. This detail is substantiated by a video directly from Chris Buck, titled "Why is nobody talking about this $600 amp? | Friday Fretworks," where he discusses and demonstrates the capabilities of the Fender Concert II, highlighting it as a forgotten gem from the 1980s. This video serves as proof of his use and endorsement of the amplifier in question.

Used for Odd Soul, as stated in this JHS Show livestream at 55:32.

Mitchell-Cárdenas: For Odd Soul, what happened was I did have the Mesa-Boogie amp, but that record, we used a lot of, and even records before that, we actually used very little bass amps to track [sic]. So I has this Fender... I still have it, this Fender Concert amp. I think it's from the mid-80s. And it sounds great on bass. So I took that out...

Josh H. Scott: I remember that.

Mitchell-Cárdenas: Do you remember that?

Josh H. Scott: I remember seeing that and thinking how weird that was.

Mitchell-Cárdenas: And so I used that, and... 'cause really the tone was coming— a lot of the tone was coming from that I believe, or helping it.