Over a Labor Day Weekend jam-packed with cultural events, this blogger had occasion to ponder the question of what makes something an “institution.” The Detroit Jazz Festival, still thriving in its 33rd year, is nothing if not a Detroit institution, and this year’s lineup featured a dazzling array of jazz notables and local favorites, including the legendary Chick Korea.

The Sacred Music of Duke Ellington at the Detroit Jazz Festival, conducted by David Berger.

On the lower-fi end of things, I had the occasion to catch a performance by Outrageous Cherry on Sunday night, as part of the Panic in Hamtramck, the Painted Lady Lounge’s ancillary contribution to Hamtramck’s Labor Day Festival.

Out of town opener Medication, from New Haven, Conn. wore their guitars high indeed and drew a strong crowd.

Outrageous Cherry represents a different kind of Detroit institution: a band that has been developing their sound and performing within the Detroit music scene for two decades, coming out of the same creative climate that produced bands like the White Stripes and the Dirtbombs.

Outrageous Cherry’s current line-up is Courtney Sheedy (bass), Larry Ray (guitar), Matthew Smith (vocals, guitar) and Carey Gustafson (drums).

Though the Painted Lady provided an appropriately gritty backdrop, the sound was unquestionably polished. Outrageous Cherry frontman Matthew Smith is clearly a seasoned performer, and his stage work represents a deep comfort and familiarity with the band’s music, message and environment.

The crowd was close-packed and enthusiastic in their enjoyment of the show.

What do these two venerable Detroit institutions have in common? I suggest that it may be a question of financial freedom. Mind-blowing as it is to realize the Detroit Jazz Festival is staged, year and year out, free of charge to attendees (though donations are welcome and encouraged!), it is more astounding and significant in my mind to see musicians in their third decade of performance for the love of the game, not having achieved the high-profile (and presumably higher payoff) of widespread, blockbuster success enjoyed by some of their contemporaries. That degree of passion being brought to the stage, regardless of context, is surely a strong foundation on which an institution can be built.