I am not advocating the Biff Dawes technique, merely advising interested parties of how one very famous engineer of live music handled the audience feed in the Westwood One radio shows. His focus was on the performance, not trying to correlate simultaneous audience reaction to a particular event occurring on the stage.
If that is the goal, here is what Biff Dawes did in one example that I transcribed--the Doobie Brothers at Universal. A very good show but for the encore, Kenny Loggins came out. What Biff did was basically increase the gain of what I perceived to more of pre-recorded audience noise (screams, hooping and hollering) and then he brought it down. One minute later it seemed to me that the audience track was the same scream, hoop and holler loop, but at a way lower gain. Indeed, he seemed to have about a dozen pre-recorded loops for his mixes.
Much of Westwood One's stuff was cherry picked and sampled to bring the best recording out the listener. For example, he always seemed to record multi-date shows at a single venue, Universal Amphitheater was one, and an arena in Concord were two favorites of his, and he would stitch together a single radio show from the best of two or three performances at that same venue, and indeed the track sheets noted that the artist had the legal right to pick and choose what tracks went on the final radio show, and some songs were omitted altogether for unknown reasons. Then he would stitch in the voice over and audience sound, the latter being very deep in the mix. Those shows rarely presented the whole single performance and while his technique might seem "fake" to some, the management apparently thought the listener would rather hear the music (and the best versions at that venue) rather than the audience sound.