If you can put something on stage I'd ideally use two separate setups: one recorder/set-o-mics on stage, with a generally wide/open stereo configuration; and a second recorder/set-o-mics back at the board, with a configuration that was as directional as possible such as supercards or shotguns PAS (pointed at the stacks). A combination of those two mixed together correctly will be the most likely way to produce best result given the constraints. The upfront presence, stereo width, percussion transients, and energetic audience reaction will be provided by the onstage setup- mix that wide. All you really want from the setup in back is as much focus on the PA as you can get for vocal and instrument clarity, basically used as secondhand substitute for a direct SBD feed- mix that narrow. EQ both to best advantage and each will cover the flaws of the other, including any shotgun off-axis room nastiness.
Yeah, I realize that's more gear than you probably have, and perhaps more that you want to get into in any case, but I'm throwing it out there simply as my best solution to the puzzle given the description of the situation. Just as an example of one way to go about thinking about it.
I'm off to look search for cheap airline tickets to Bratislava.
If you do, give me a shout.
I'm going there next month- would be good to meet.
Yes indeed, unfortunately we'll have to meet next time. Too much going on here to get away the next couple months just for the fun of it. Enjoy!