So for perfection in a video recording that contains a mix of wide-angle and close-up shots, we should ideally arrange to have a tighter sound/picture synchronization when we zoom in close...and a slightly bigger synch disparity when we pan out wide.
Are you saying it would be best to leave the distant angle out of sync, because that's how it naturally occurs?
Ach, my comments were rather theoretical in character and I don't think you'll have too many concerns in a small bar situation. If your mic/camera is, say, 10 yards distant, the sound emerging from a vocalist's lips will arrive (directly) 27 msec later at your mic. But there again, it could well be a shorter interval if the singer uses the house PA, whose speakers happen to be sited close to your rig. And longer too, of course, for any reflected, ambient sounds.
I would just leave that distant mic recording unadjusted, but scrutinize any video material containing extreme head & shoulders close-up shots of a singer or a concert-compere, to check if anything appears unnatural - i.e. "'too early lips". People tend to be more sensitive to oddities with singing faces than with guitar strums or drum whacks. [With luck, the lips may be hidden behind a big mic...or, in an arena context, too far away to be noticed, anyway - unless it's Mick Jagger. :-)] If you later implement an extra mic up close, consider delaying it to match your distant mic.