In my book, 'real' reverb is when musicians are recorded, almost certainly all at once, in a concert hall or other space. They aren't close-miced, a stereo pair is placed so as to capture the whole thing, instruments and room. (In modern practice, there will probably be some spot-micing as well as the main stereo pair. But the reverb comes from the room, not from any contrived devcice.) I doubt many 'bands' record in this way. Orchestras and other acoustic ensembles, yes.
Then there's 'artificial' reverb. Originally a room containing loudspeaker and microphone. Then perhaps a plate or spring with transducers at each end. Or the plate/spring could be replaced by an electronic delay line. Now more likely to be a computer simulation. All these methods have their own sound. I don't really put the 'room containing loudspeaker and microphone' method in any special category.
What's best? Best at what? Sounding like it's recorded at Carnegie Hall? Or best at enhancing today's style of ultra-seperated multi-tracked and processed recording? Not better, just different.
It's a pity, though, how rarely we hear real stereo - as distinct from pan-potted mono - these days, especially in popular music recordings. There's a special magic in a three-dimensional 'stereo image' which is worth experiencing.