Well, the 58 is used on stages because of that 2-5k bump that helps the vocal cut, its difference from the 57 (a little less "aggressive") is that is has an even more exaggerated bump in the 6k range which really comes across as a knife to your ear on sibilance, which we, as american music listeners, have come to get used to. Of course, the way to mellow it out a little is a good preamp and compressor chain on the lead vocal. This is how the 58 can sound (with a good singer), fair / acceptable one set, and good/fantastic during another. The FOH engineer for the headliner usually has a nice little rack of tricks for the people who write his checks.
Personally, as a stage vocal mic, I prefer the sennheiser 865, if only more clubs had them
. It's much less "gack"-y than the 58. But still cuts through.
And thanks for the subgroup tip
