In small venues in that kind of situation, I find it advantageous to find a spot where I get both the PA sound from a position close enough to the speaker get good clarity from it, but also the sound emanating from the stage as well. That helps get a good representation of everything, including good representation of the drum kit transients (which are never as "live sounding" through the PA), and often also guitars, sometimes vocals and spoken stuff as well depending on the noise level in the room and the amount of PA amplification. That often means being up front but often a few persons back, off-center near the stack, over to the inside edge of it but not too far off-axis from the speaker. If you can see the treble or midrange horn of the PA, a good rule of thumb is to stay enough on-axis enough that you can see into the horn, and are not outside of the internal horn wall. The clarity cut-off is often abrupt moving farther off-axis past that point, and easily audible. Move around while listing to the house music before the band plays to find that edge. Recording this way you may have the PA on one side and the direct stage sound on the other in the resulting recording, but a bit of level balancing of between both sides will bring the image to center.
If there are audience PA fills along the front of the stage, you are gold, get up close to one of those can get both the PA sound and stage sound very nicely balanced. Not many venues use those unfortunately (IMO, stage monitor wedges should have PA fills built into the back side of them for the audience up front!)
In large venues, the PA is so loud it will completely bury the stage sound. In that case, just find the clearest spot (its not always closest, though it is usually on-axis with the speaker) and position yourself so that the PA speaker is in the center of the stereo image, even if that means not really facing the stage.