Make sure you really want one of those drum shields. In use they can have good and bad results. It all depends on the what you want to accomplish, and how loud the drummer is. Problem is it obviously provides a reflective surface for the drums, and so you need to be careful how you mic the drums, most of the very effective systems have a "roof" over the top but that looks silly in a live environment. If you can determine what element of the drums is the problem, The shields do a lot to reduce cymbals, somewhat effective on high hat, snake and toms not much help on bass. In some cases a low shield around the drum kit that is absorbing but of course not transparent, is more effective. In my experience they have mixed results in a live environment. Many times the problem is the drummer can not hear themselves so they keep playing louder and louder, so a monitor feed that has the drums emphasised in headphones works better. In addition putting the drummer up on a riser also helps, especially if it is set back a bit from the musicians on the front of the stage.
Anyway drums are the most problematic part of live performances in a number of cases
These are indeed not always a perfect solution, but if you have a drummer that can/will not learn to play in any way other than imitating Animal of the Muppets and that has to work with others on stage, then it is often the only practical choice other than electronic drums.
I concur also with the use of Clearsonic. However, the critical element, as sharyn states, is to get the acoustic absorbtion panels, both on the lower section, and, depending on where your drums are, behind the drum set as well. We started off with the drum shields (pretty acoustically live church), and all they did was provide one more reflection, before bouncing everywhere. We added the absorption panels behind, and eventually put them on top. We're now able to mic the drum kit, and have a pretty solid mix, not to mention much less acoustic leakage.