Hall acoustics is a big concern amongst audio engineers.
Their job is to make sure everyone gets to be heard as well as hear themselves and the rest of the band on stage.
Sometimes your drums can sound fantastic from where you are at, but hall acoustics may enforce some of the frequencies that may not complement the music so well.
So there is a need to attenuate what comes out of the stage so that there is better control for the engineer through the FOH system.
Like in New Creation Church, there was this time I went in early and got to sit through their sound check. At first the master volume was down, so I got to hear the kit directly from the stage. It sounded great on its own, though a bit papery and "woofy". Once the engineer turned up the master, the kit had a new lease of life. It sounded punchy and more fitting for a praise and worship number.
Now for the stage and the band. I bet that there are singers or musicians who will complain that they can't hear themselves through the monitors when the music gets loud (engineers can't always be turning the monitoring up, feedback will be imminent). Low-rise drum shields have a lot of cymbal bleed that will really mess things up for the other musicians.
So for this point, you either have to force yourself to play softer, or let the coordinator get you a drum shield so that you can express how you feel through the kit without killing everyone else.
I've been a drummer myself with a school symphonic band and took me a while to understand this concept.
Ultimately, your band's music has the priority, not just your drum's natural sound. You must trust your coordinator to make the stage a comfortable environment for the other performers as well as the sound crew to capture your sound and get the whole mix sounding great from the audience's perspective.