I think to get down to earth on this discussion we all really can agree that there is a low, middle, and high level with regards to cables, not just "cheap" and "high end". Also, there are differences between cables designed for careful use in controlled studio environments versus rough field or live stage use.
The most important break point between types of mic cables is the amount of RF resistance they have. Quad conductor cable, Canare and Ameriquad being two of the biggest selling brands, are not susceptible to RF interference like 2 conductor cable, and are therefore the preferred type for field or stage use. High end 2 conductor studio cable will out perform mid-level quad cable in the controlled studio environment where shielding against RF and 60 cycle AC fields are part of the facility construction. Take those high end cables out into the field, and any benefits from conductor formulation can be lost to RF interference.
Ameriquad cables, for example, have a Kevlar core to protect them from the strains of stage use, being coiled and recoiled daily, stepped on, pulled on, and swung around by the Roger Daltry's of the world. Many of the same types of rough handling seen with stage applications will apply to field recording.
For this reason, my advice is that while inexpensive Hosa type cables are usually going to deliver the classic "get what you pay for" lower performance, your next step does not have to leap frog to esoteric cables built by hand by Swiss watch makers using the purest metals extracted from rare meteorites with diamond encrusted locking switches. That would be like buying a Ferrari to drive back and forth to work simply for the bragging rights, as that would be all you would be gaining for the investment.
Look for good quad cables with gold Nutrix connectors in the $60-$80 per cable range and you will be just fine taping off PAs in the field.