I wouldn't swear to it, but I think if you run the numbers, there are more condenser mics in live use in any given week than dynamics. Sure, pretty much every rock band uses dynamic mics because they're cheap, rugged, and are usually designed to resist feedback.
However, just about every installed house sound setup at every church in the world, every podium mic that costs over $200, etc. uses a condenser mic. Probably 2/3rds of the lapel mics that are used in TV studios are condenser mics, and the same goes for about 2/3rds of the wireless lapel mics. Likewise, pretty much every headset mic ever made is a condenser, including the ones that are used for the crappy drive-thru speaker system in every burger joint in the world. And so on.
General rule:
Moving-coil dynamic mics: slower transient response. High frequencies are rolled off, and sharp transients are smeared. Commonly used for drums because they readily handle high SPLs and getting hit by sticks. They're less commonly used for other things in recording. They're commonly used for gigging for the same reason that they make good drum mics---you can use them as a hammer to fasten the stage back together....
Condenser mics: fast to extremely fast transient response, depending on diaphragm diameter. Usually flatter frequency response (but not always), usually not too rolled off up at the top. These are the most common mics for general-purpose recording. If you don't know what to use, throw a small-diaphragm condenser at it, then tailor the results with EQ. For vocals, most people favor a large diaphragm condenser (or a ribbon, depending on taste).
Ribbon mics: a special case of dynamic mics. These tend to have much better high frequency response and faster transient response than traditional moving-coil dynamic mics, but not as good/fast as condensers. These are almost never used in live use because they are much more easily damaged than either of the other two types. They are great for capturing bright sources because bright sources tend to sound unnaturally dull with MCDs and too harsh with condensers. For example, trumpet is quite frequently recorded with a ribbon mic.