Pianoguy has some very valuable points, all valid, all practical.
I would add that it's helpful to create your tones in a DAW using backing tracks so that you can edit it in such a way as it sits in the mix, before it hits the interface, before it hits a a connection to FOH.
The better you do this, the better FOH will have a usable tone from you across your live tone library.
FOH will like you better for this, as they will have very little eq'ing to do to your signal making their job easier of carving out a live mix. They'll have a good gain structure to build from, and you'll end up liking what you get back in your monitors or your I.E.M.'s.
This takes time, a lot of back and forth, but if you invest this time wisely, and even have someone more experted than you give a critical listen & provide their input, it can, and likely will pay off big time.
Additionally, with regard to stage volume, anything that you can do to reduce that will also make the job easier for FOH to provide a good tangible mix for the room.
Consider this, the loudest acoustic instrument on stage sets the minimum stage SPL. Most of the time, it's the drums, but I've seen plenty of examples where guitar players were trying to achieve a break in the sound barrier with excruciating volumes. You need only be loud enough on stage as to hear yourself. You may consider rather than firing your cabs from the backline towards the front, to relocating them to the side and fire them in from there, like a side fill. If it's only for you to hear yourself, then put them where you'll likely hear them no matter where you are on stage, and you've just knocked your SPL down a bit to make FOH's job easier. Plus, it gives you more room to run around on stage. You might even consider downsizing to 2x12 cabs, since they're aim with more focus in mind. This is what I did back in my final year of touring in 2002. Sold off a couple of 4x12 cabs & went down to a single 2x12 on each side. Even then, where the room sounds like poop, there have been times that I have gigged and not heard a note that I played because the room sounds like bees in a boxcar. This is where professionalism trumps idealism. You've rehearsed for this, you know your job, you know your role, and you have the physicality to do your job, along with the muscle memory that goes along with it. You show up, you do your job. The main person who absolutely needs to hear himself is the vocalist. So long as everyone else can hear the drummer, you can make it work. Again, this won't be ideal, but, you've not rehearsed up to this point just to the point where you get it right. You've rehearsed to the point to where you can't possibly play it wrong.