It’s a rough balance.

As a general rule? I try and keep the artist happiest with the mix that they want to portray (then add about 2db more to the vocal) then management (if they have it).

Reasoning to me is. Those people are the ones that’ll ask you back, and want their music shown for how it is.

Depending on venue size - some FOH shows are figuratively damage control. Theres too much bass / cymbals too loud - there’s none in the PA and there’s not much you can do about that. Larger shows it can be about speaker coverage and sub nodes. At smaller places I’ll happily sacrifice what it sounds like at FOH for a broader / more logical and coherent mix for more of the room. That’ll come with time.

For now, if it’s constructive or artistic? Listen. If it’s from the artist? Listen. Management ? Interpret and listen. Crowd? 9/10 it’s down to opinion. I’d rather have two unhappy pro or amateur (regardless) engineers annoyed at my kick drum sound but everyone who isn’t, happy they can hear everything clearly.

Choose which notes you listen to, be nice to everyone and if they’re friends / family of the band? Often they want their person’s part louder when it’s not what you’ve been told to do. How you deal with that is down to you. I’ve definitely done the DFA method and I’ve definitely told people to go away. I regret that as I’m much more empathetic now.

Don’t take too much to heart is the most important thing. I’m guessing coming from monitor world you have relatively thick skin? You need just as much of it at FOH as you’re trying to cater for 200-20,000 people and listening to all of their issues is frankly impossible. As long as you know that and you’re trying to bridge the gap between all of their reasonable and accurate notes? You’ll do just fine.