▆ 5 Seconds Of Summer Tour Schedule & Concert Tickets at Coral Sky Amphitheatre in West Palm Beach, Florida For Sale

5 SECONDS OF SUMMER ROCK OUT WITH YOUR SOCKS OUT TOUR
5 Seconds of Summer Tickets
Coral Sky Amphitheatre
West Palm Beach, FL
Sunday
9/13/xxxx
7:00 PM
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5SOS Concert Tickets that are available may include Presale Concert Tickets, Floor Tickets, Orchestra Tickets, Pit Tickets, Loge Tickets, Balcony Tickets, Mezzanine Tickets and General Admission Tickets in addition to all additional seating options made available by the hosting venues for the Rock Out With Your Socks Out Tour Schedule.
We assist large groups of fans attending the concerts that want to purchase large blocks of seats for the 5SOS Tour concerts so that the group going to the concert can sit in adjacent seats and enjoy the show.
New concerts for the 5SOS Rock Out With Your Socks Out Tour schedule may be announced.
Please use this link for the Updated 5SOS Rock Out With Your Socks Out Tour Tickets
Updated 5 Seconds Of Summer Concert Tickets
5 Seconds of Summer Tickets
Hollywood Casino Amphitheatre - Tinley Park
Tinley Park, IL
Saturday
8/1/xxxx
7:30 PM
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5 Seconds of Summer Tickets
Hollywood Casino Amphitheatre
Tinley Park, IL
Sunday
8/2/xxxx
7:30 PM
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5 Seconds of Summer Tickets
KFC Yum! Center
Louisville, KY
Tuesday
8/4/xxxx
7:30 PM
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Aarons Amphitheatre At Lakewood
Atlanta, GA
Wednesday
8/5/xxxx
7:30 PM
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Gexa Energy Pavilion
Dallas, TX
Friday
8/7/xxxx
7:00 PM
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Palace Of Auburn Hills
Auburn Hills, MI
Wednesday
8/19/xxxx
7:00 PM
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Quicken Loans Arena
Cleveland, OH
Friday
8/21/xxxx
7:30 PM
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Molson Canadian Amphitheatre
Toronto, Canada
Tuesday
8/25/xxxx
7:30 PM
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Saratoga Performing Arts Center
Saratoga Springs, NY
Wednesday
8/26/xxxx
7:30 PM
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Xfinity Center - MA
Mansfield, MA
Friday
8/28/xxxx
7:30 PM
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Hersheypark Stadium
Hershey, PA
Saturday
8/29/xxxx
7:00 PM
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PNC Bank Arts Center
Holmdel, NJ
Sunday
8/30/xxxx
7:30 PM
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Nikon at Jones Beach Theater
Wantagh, NY
Tuesday
9/1/xxxx
7:30 PM
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Nikon at Jones Beach Theater
Wantagh, NY
Wednesday
9/2/xxxx
7:30 PM
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Susquehanna Bank Center
Camden, NJ
Friday
9/4/xxxx
7:30 PM
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Xfinity Theatre
Hartford, CT
Saturday
9/5/xxxx
7:30 PM
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Jiffy Lube Live
Bristow, VA
Sunday
9/6/xxxx
7:30 PM
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Farm Bureau Live at Virginia Beach
Virginia Beach, VA
Monday
9/7/xxxx
7:00 PM
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PNC Music Pavilion
Charlotte, NC
Wednesday
9/9/xxxx
7:00 PM
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Walnut Creek Amphitheatre
Raleigh, NC
Thursday
9/10/xxxx
7:30 PM
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MidFlorida Credit Union Amphitheatre At The Florida State Fairgrounds
Tampa, FL
Saturday
9/12/xxxx
7:00 PM
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Coral Sky Amphitheatre
West Palm Beach, FL
Sunday
9/13/xxxx
7:00 PM
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the dramatic way almost entirely, but they actually improved the poetical on its narrative side, and the result was Romance. In every romance there is the germ of a novel and more; there is at least the suggestion and possibility of romance in every novel that deserves the name. In the Tristram story and the Lancelot cycle there are most of the things that the romancer of incident and the novelist of character and motive can want or can use, till the end of the world; and Malory (that "mere compiler" as some pleasantly call him) has put the possibilities of the latter and greater creation so that no one who has eyes can miss them. Nor in the beginning does it much or at all matter whether the vehicle was prose or verse. In fact they mostly wrote in verse because prose was not ready. In the minor romances and tales (taking English versions only) from Havelok to Beryn there is a whole universe of situation, scenario, opportunity for "business." That they have the dress and the scene?backing of one particular period can matter to no one who has eyes for anything beyond
dress and scene?backing. And when we are told that they are apt to run too much into grooves and families, it is sufficient to answer that it really does not lie in the mouth of an age which produces grime?novels, problem?novels, and so forth, as if they had been struck off on a hectograph, possessing the not very exalted gift of varying names and places--to reproach any other age on this score. But we have only limited room here for generalities and still less for controversy; let us turn to our proper work and survey the actual turn?out in fiction--mostly as a result of mere fashion, verse, but partly prose--which the Middle Ages has left us as a contribution to this department of English literature. It has been said that few people know the treasures of English romance, yet there is little excuse for ignorance of them. It is some century since Ellis's extremely amusing, if sometimes rather prosaic, book put much of the matter before those who will not read originals; to be followed in the same path by Dunlop later, The English Novel 6 and much later still by the invaluable
and delightful Catalogue of [British Museum] Romances by Mr. Ward. It is nearly as long since the collections of Ritson and Weber, soon supplemented by others, and enlarged for the last forty years by the publications of the Early English Text Society, put these originals themselves within the reach of everybody who is not so lazy or so timid as to be disgusted or daunted by a very few actually obsolete words and a rather large proportion of obsolete spellings, which will yield to even the minimum of intelligent attention. Only a very small number (not perhaps including a single one of importance) remain unprinted, though no doubt a few are out of print or difficult to obtain. The quality and variety of the stories told in them are both very considerable, even without making allowance for what has been called the stock character of mediaeval composition. That almost all are directly imitated from the French is probable enough, that most are is certain: but this matters, for our purpose, nothing at all. That the imitation was not haphazard or indiscriminate is obvious. Thus,
though we have some, we have not very many representatives of the class which was the most numerous of all in France--the chansons de geste or stories of French legendary history, national or family. Except as far as the Saracens are concerned, they would naturally have less interest for English hearers. The Matiere de Rome, again--the legends of antiquity--though represented, is not very abundant outside of the universally popular Tale of Troy; and the almost equally popular Alexander legend does not occupy a very large part of them. What is perhaps more remarkable is that until Malory exercised his genius upon "the French book," the more poetical parts of the "matter of Britain" itself do not seem to have been very much written about in English. The preliminary stuff about Merlin and Vortigern exists in several handlings; the foreign campaigns of Arthur seem always (perhaps from national vanity) to have been popular. The "off"?branches of Tristram and Percivale, and not a few of the still more episodic romances of adventures concerning Gawain, Iwain, and other knights, receive