You have some really nice work and great tips, but your comment about 2.8 zooms threw me off a little. I've seen plenty of concert photography from "idiots with 2.8 zooms" that was nothing short of amazing, and in terrible light. If shooting fast primes is your thing, then great. I just don't think your generalization about people who use zooms at concerts is fair.
I meant know disrespect, I guess I was really trying to hammer the point home. Some of my favourite shooters rely upon zooms. Because well they don't have time, they're using pro bodies, can push iso and clarity. One of my favourite shooters can get sharper images than me, and favours carrying around 3 zooms 16-35, 24-70, 70-200.
So I get your point, it was a generalisation, but I guess it was more a push for shooters starting out with live, a lot of guys I know here these pros go "get the 24-70 you won't need anything else" and it's just frustrating because not everyone has full frame, or a 1 series, nor is it practical advice, when you're just trying to scrounge together enough money for a body. And will be able to get enough light, or can deal with terrible light. At the moment I have a thing for terrible light, because primes allow me to look for ways around that, god terrible light is beautiful.
More to the point I don't like reliance upon zooms, especially not when you're starting out. It's a personal preference thing. For anyone starting out, I always say 28mm 1.8 for crop, 50mm 1.4/1.8 and 85 1.8. If you're going to do socials 10-20mm is a great lens for that. And if you're FF 24mm 2.8 for socials instead (that things such a great beast to churn out great socials) A big part of the reason I say this is, having to move around, and think about your shot is a big part of photography, and reliance upon just zooming in and out can really kill your creativity about getting a shot. I was taught by old school guys, who used nothing but Hasselblad 500's because of the resolving power of Hassy glass, and who really drilled that into me, that I needed to start prime, to understand the mechanics. I respect that advice, and it's something I pass along.
And the other reason I love recommending this kit is the combined cost of these lenses is going to be less than a tele, or a lot of pieces of L glass. (L glass is the business, so much of it is wonderful, it took me a long time to get the pieces I rely upon to do my work).
I just thought I'd make it clear, I'm just offering up a very very very stubborn opinion. And probably best to take my advice with a shot of tequila.