As for lens recommendations, I've got a few thoughts based on my own experience shooting live performances with Canon RF gear.

First off, both the RF 28-70mm f/2L USM and RF 70-200mm f/2.8L IS USM are fantastic options. The 28-70mm is incredibly versatile, giving you a wide range of focal lengths to work with. The constant f/2 aperture is a real game-changer for low-light situations, letting you keep your shutter speed up and ISO down. Plus, the image quality is absolutely top-notch - sharp, contrasty, and with beautiful bokeh.

On the other hand, the RF 70-200mm f/2.8L IS USM is a workhorse for concert photography. The longer focal length lets you get those tight, intimate shots of performers, even from a distance. The f/2.8 aperture is still plenty fast for most lighting conditions, and the image stabilization helps keep things sharp when you're shooting handheld. The autofocus on this lens is also lightning-quick and accurate, which is crucial for capturing those split-second moments on stage.

Personally, my go-to setup is the RF 28-70mm paired with the RF 85mm f/1.2L USM. The 28-70mm covers most of my wide and mid-range needs, while the 85mm is perfect for those super-tight portraits and detail shots. The f/1.2 aperture on the 85mm is also a lifesaver in really dim lighting.

As for handling tricky lighting, my biggest piece of advice is to shoot in manual mode and keep a close eye on your histogram. Concert lighting can change rapidly, so it's important to be able to adjust your settings on the fly. I also recommend shooting in RAW so you have more flexibility in post-processing to recover highlights or shadows as needed.

When it comes to capturing the energy of live performances, timing is everything. Anticipate those big moments - the jump, the guitar solo, the confetti cannon - and be ready to snap the shot. Continuous shooting mode can also be helpful for ensuring you don't miss a beat.

At the end of the day, the best lens for concert photography is the one that fits your shooting style and helps you achieve your creative vision. But with the Canon RF lineup, you really can't go wrong. The 28-70mm and 70-200mm are both exceptional choices, and paired with the R5's high-ISO capabilities, you'll be well-equipped to tackle even the most challenging lighting conditions.

I recommend two RF lenses for concert photography with a Canon EOS R system:

1. Canon RF 24-70mm f/2.8L IS USM: This versatile zoom lens offers a constant f/2.8 aperture, which is essential for capturing sharp images in low-light concert environments. Its range allows you to get both wide shots and close-ups of performers.

2. Canon RF 50mm f/1.2L USM: Known for its exceptional low-light performance and beautiful bokeh, this prime lens is perfect for isolating subjects on stage while creating stunning background blur, making it ideal for concert photography.

Quick reply while I have a sec. Building on the earlier suggestion, I've spent a lot of time analyzing my performance stats with different glass because I'm always worried about failing to capture the moment. Honestly, the lighting situation at most venues is just soul-crushing. You think you have the settings dialed in and then the lights drop to a deep red and everything just falls apart. It is so frustrating to deal with that constant flickering and low visibility. It feels like a losing battle sometimes. I have been testing two main setups to see what works best for my workflow. The Canon RF 70-200mm f/2.8L IS USM is my go-to for safety and stability. The Image Stabilization is excellent and it gives me a lot of confidence that my shots will be sharp. The main downside is that f/2.8 can feel a bit restrictive when it gets truly dark. I also use the Canon RF 28-70mm f/2L USM which I am very happy with for its light-gathering capabilities. Having that f/2 aperture is a massive relief for keeping ISO at a safer level, though the lack of stabilization and the sheer weight makes me a bit cautious about physical fatigue. Both perform well, but the struggle with house lights is definitely real and very draining.

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This is exactly what I needed to hear. Youre a lifesaver honestly.

If budget is a concern, consider the RF 85mm f/2 Macro IS STM. It's relatively affordable, offers a great focal length for portraits, and the f/2 aperture still performs well in low light. The macro capability can be fun for close-up details of instruments or performers. The IS is a nice bonus too.

The newly announced Canon RF16-28 F2.8 IS STM lens is highly recommended. It is a wide-angle zoom lens that offers a fast, constant aperture at a more entry-level price point. This new lens costs $1,149, first available for pre-order at B&H/ Adorama.

Lisa is totally right about the lighting being a nightmare. Beyond that tho, I would be careful about the physical side of things because some of this glass is a total beast.

• Watch the weight balance. If you are using a lighter strap or a small bag, the heavier lenses make the R5 feel really front-heavy and awkward in a tight pit.
• Filter compatibility is annoying. You will likely need much larger filters than the old standards, which adds a lot of extra cost and bulk to your kit.
• Mount stress is a real concern if you are moving around a lot. Dont let a heavy setup bounce against your hip or you might eventually see some play in the mount connection.
• LED banding is still a thing. Even with the best glass, the R5 electronic shutter can struggle with some stage lights, so stick to mechanical to be safe.

The RF 24-105mm f/2.8L IS USM Z lens is a superb lens for videos.