Well, there's some physics you can take advantage of. Proximity effect and inverse square law combine to help out a lot. Mic technique also helps.
Sound radiation and the blast of air that causes a plosive lose their energy over distance in different ways. Sound follows inverse square law which dictates that a radiating wave will lose 75% of it's energy/surface area for each doubling of the radius from the source. That's 6dB per doubling.
Plosives only become sound when the blast of air hits an obstruction. (Well, there's some sound as it moves but not very much.) But the blast is different from sound and doesn't lose energy as steeply at first and so is about the same strength a few inches out as it is right out of the singer's mouth. So while the sound may drop off drastically when the singer backs off a couple of inches, the blast is practically the same. Distance doesn't prevent plosives unless the singer can direct the blast of air past the mic without hitting it.
So eating the mic has given some advantage to the sound over the blast, but then you have proximity effect which boosts the lows. When you eq that out you also eq out a lot of the plosive sound.
Add to all that a singer who knows how to "pull" his consonants and you have practically plosive free sound. People who learned to project for unamplified stuff like theater often "push" their consonants and have a hard time unlearning that to have good mic technique.