Revelation 1

Which worship songs are based on Revelation 1?

Life in the Last Days — ApologetiX (2009) Revelation 1:1
The opening identifies John as the recipient of revelation from Jesus, then recounts his collapse before the risen Christ and Christ’s command to record the vision.
Burn (Live) — Brooke Ligertwood (2022) Revelation 1:3
The bridge closely follows Revelation's opening blessing and declaration of nearness, then deliberately catalogs its sevenfold imagery: stars, lampstands and churches, seals, thunders, angels, and trumpets.
He Who Is To Come (Live From Passion 2024) — Kristian Stanfill & Passion (2024) Revelation 1:4-7
The pre-chorus adopts Revelation’s threefold description of the eternal God, while the chorus draws on the vision of Christ arriving with the clouds and being seen by all humanity.
Good & Loved (feat. Steffany Gretzinger) — Travis Greene & Steffany Gretzinger (2019) Revelation 1:4
The description of God through past and present existence closely echoes Revelation’s title for the eternal God, though the song omits the future-oriented portion of the formula.
King Jesus - Live — Jesus Culture (2023) Revelation 1:4-8
The closing declaration adapts Revelation’s formula for the one who exists across past, present, and future, emphasizing Christ’s promised return.
He Who Is To Come — Kristian Stanfill & Passion & Cody Carnes (2023) Revelation 1:4-8
The song adopts Revelation’s past-present-future divine title and its description of Christ coming with the clouds before the sight of all humanity. Its reference to visible crucifixion wounds also corresponds to the passage’s identification of the returning one as the one who was pierced.
Hammerin' Nails — Joey + Rory (2013) Revelation 1:5
The description of Jesus cleansing believers through his blood closely adapts Revelation 1:5, particularly its traditional wording in the King James Version.
Oh Happy Day — Aaron Neville (2013) Revelation 1:5
The refrain closely adapts the description of Jesus cleansing people from their sins. Its washing imagery particularly matches the wording preserved in the King James Version, rather than translations that describe release from sins.
Jesus, Thank You — Galkin Evangelistic Team (2012) Revelation 1:5
The description of Jesus's blood washing away the worshipper's sin closely follows the washing language of Revelation 1:5 found in the King James Version and related translations. Other translations render this verse in terms of release from sins.
Reunion — Neal Morse (2007) Revelation 1:5-6
The song connects pardon through God’s Son with the redeemed receiving both priestly and royal status. This closely follows Revelation’s description of Jesus freeing believers from sin and making them a royal, priestly people, expressed as kings and priests in the King James Version.
O the Blood — Gateway Worship (2013) Revelation 1:5
The chorus describes Jesus washing the worshipper through his own blood. This closely reflects the washing language of Revelation 1:5 in the KJV and NKJV; other translations describe release from sins.
The Power Of The Cross/When I Survey The Wondrous Cross - Live — Keith & Kristyn Getty (2013) Revelation 1:5-6
The spoken conclusion closely adapts Revelation's doxology to Jesus, linking his love, liberation through his blood, and the attribution of glory to him.
Baptise Me — Robert Randolph & The Family Band (2019) Revelation 1:5
Its image of cleansing through Christ’s blood reflects Revelation’s description of Jesus releasing or washing believers from their sins by his blood.
Quem é Como Nosso Deus? — Nívea Soares (2024) Revelation 1:5
The song gathers several distinctive features of John's vision of the exalted Christ: fiery eyes, snow-white hair, a radiant face, supremacy over death, the Alpha and Omega title, and eternal existence across past, present, and future.
Blessed Assurance — Chris McClarney (2009) Revelation 1:5
The description of cleansing through Christ's blood closely follows this verse's wording in the King James Version, which describes Jesus washing believers from their sins through his own blood.
Jesus Loves Me — Aaron Neville (2013) Revelation 1:5
The hymn connects Jesus' love and death with the washing away of sins. This closely reflects the wording preserved in the King James Version of this verse, which describes Jesus loving believers and washing them from their sins through his blood.
A Few More Years — Buddy Greene (2010) Revelation 1:5
The prayer for cleansing from sin through Christ’s blood closely adapts this verse’s description of Jesus washing believers from their sins in his own blood, as rendered in the King James Version.
Only the Son (Yeshua) (Doug Weier remix) — Newsboys (2019) Revelation 1:5
The chorus combines Revelation’s portrayal of Jesus as sovereign over earthly kings with its images of Christ possessing keys and standing at a door. The song adapts these symbols into a personal image of Christ having rightful access to the heart.
Christ Exalted is Our Song - Live — Sovereign Grace Music (2019) Revelation 1:5
The risen Christ is identified as the firstborn from among the dead and as the one possessing the keys that signify authority over death, combining two closely linked descriptions from Revelation’s opening vision.
I Am Amazed — Donnie McClurkin (2013) Revelation 1:5
The song’s description of sins being washed away, together with its repeated attribution of salvation to Christ’s blood, closely reflects this verse’s description of cleansing from sin through his blood in the King James translation.
Oh Happy Day — Sonseed (2009) Revelation 1:5
The repeated description of Jesus removing sins through washing closely adapts the wording of Revelation 1:5 in the King James Version. The song does not include the verse’s additional reference to his blood.
Closer Than a Brother — Allies (2011) Revelation 1:5
The chorus pairs Jesus’ love with his washing away sins, closely adapting the description of Christ in the King James rendering of this verse. The song omits the verse’s explicit reference to his blood.
Hymn of the Ages — Graham Kendrick & Matt Redman (2013) Revelation 1:5-6
The chorus closely adapts Revelation’s description of Jesus as the one who loves and frees his people, followed by a doxology extending forever. This distinctive sequence makes the connection stronger than a general theme of redemption.
Living Proof - Live — David & Nicole Binion & Steffany Gretzinger (2020) Revelation 1:5
The description of Jesus cleansing a guilty person through his blood closely reflects this verse’s declaration that Christ releases or washes people from their sins by his blood.
Remedy — David Crowder Band (2007) Revelation 1:5
The song closely adapts Revelation’s praise of Jesus as the one whose love has freed his people from their sins. The combination of Christ’s love and liberation from sin makes this a specific textual connection rather than a general salvation theme.
Fool With a Fancy Guitar — Andrew Peterson (2010) Revelation 1:6
The repeated pairing of priestly and royal identity in God's kingdom closely reflects the description of redeemed believers as a kingdom and priests, rendered as kings and priests in some translations.
With Everything — Hillsong Worship (2008) Revelation 1:7
The declaration that Jesus will be visible to everyone closely reproduces Revelation's announcement of His universal visibility at His coming.
O Church Arise - Live — Keith & Kristyn Getty (2013) Revelation 1:7
The anticipation that everyone will see Christ closely adapts Revelation's announcement of his universally visible return.
The Lion and the Lamb — Big Daddy Weave (2015) Revelation 1:7
The opening announcement of Christ’s arrival with clouds closely follows Revelation’s proclamation of his visible return. The song’s broader use of Revelation strengthens this identification.
Picture This — 11th Hour (2014) Revelation 1:7
The promise that Jesus' cloud-borne return will be visible to everyone closely follows Revelation's announcement of His universally witnessed coming.
Faithful to the End — Cory Asbury (2009) Revelation 1:7
The combination of Christ arriving with clouds and being visible to everyone closely adapts this verse's announcement of his public return.
Hell to Pay — Saint (2019) Revelation 1:7
Christ’s arrival with the clouds, accompanied by worldwide mourning and judgment, closely paraphrases Revelation’s announcement of his visible return.
O Vimos Subir — Julliany Souza (2025) Revelation 1:7
The declaration that Christ's return will be witnessed universally directly echoes John's description of the publicly visible coming of Christ.
In A Little While — CeCe Winans (2024) Revelation 1:7
The description of Christ returning through the clouds and being visible to everyone closely paraphrases Revelation’s announcement of his public coming.
Release the Sound — Tasha Cobbs Leonard (2020) Revelation 1:7
The description of the risen Jesus arriving with clouds and being seen by every eye closely reproduces Revelation’s announcement of his return.
When He Comes — Johnny Cash (2012) Revelation 1:7
The opening announcement directly reproduces Revelation’s declaration that Christ’s return will be visible to everyone.
Hu Yavo (He will Come) — Joshua Aaron (2014) Revelation 1:7
The returning Jesus is depicted with clouds, fiery eyes, and seven stars held in his right hand. These details directly combine Revelation's announcement of his coming with John's vision of the risen Christ.
He Who Is To Come - Live From Passion 2025 — Kristian Stanfill & Passion & Brooke Ligertwood (2025) Revelation 1:7-8
The chorus combines Revelation's divine title spanning past, present, and future with the vision of Christ coming on the clouds, universally seen, and identified as the pierced one.
Kingdom Come - Live — Covenant Worship & David & Nicole Binion & Joshua Dufrene (2014) Revelation 1:7
The first verse closely adapts Revelation’s announcement that all eyes will see the returning Christ. The song places this universal visibility within its expectation of divine kingship.
I'll Be Ready — Tiffany Hudson (2023) Revelation 1:7
The vision of Christ appearing publicly and being seen by every eye closely paraphrases Revelation’s announcement of his visible return.
Grace So Glorious — Elevation Worship (2014) Revelation 1:7
The third verse closely adapts Revelation's declaration that everyone will see the returning Christ. Its universal visual language makes this more specific than a general anticipation of heaven.
Matthew 6:33 — ALIA LARA (2023) Revelation 1:8
Addressing God with the first and last letters of the Greek alphabet, alongside the designation of almighty, directly invokes Revelation’s portrayal of the eternal sovereign God.
Anchor - Live — Hillsong Worship (2013) Revelation 1:8
The third verse closely adapts Revelation’s distinctive description of God’s existence across past, present, and future. Its emphasis on God’s unchanging identity makes this a specific textual allusion rather than a general statement of faithfulness.
I Am — Crystal Lewis (2011) Revelation 1:8
The combination of the Greek alphabet's opening and closing letters with God's present and coming existence unmistakably adapts this divine declaration.
Your Love — Strings and Heart (2019) Revelation 1:8
The combined imagery of Christ as Alpha and Omega and First and Last, together with his resurrection and possession of the keys of death and Hades, closely follows John's vision of the risen Jesus.
Alfa e Ômega - Ao Vivo — fhop music (2025) Revelation 1:8
The song title directly uses Revelation’s divine designation for the one who encompasses the beginning and the end. The chorus’s language of glory, worship, and worthiness is consistent with that title but is too general to establish an additional passage.
Yours (Glory and Praise) — Elevation Worship (2017) Revelation 1:8
The description of God across past, present, and future closely adapts Revelation’s distinctive divine title for the eternal One. The surrounding emphasis on sovereignty and everlasting reign reinforces this identification.
Greater — Chris Tomlin (2014) Revelation 1:8
The second verse adapts Revelation's distinctive threefold description of God's past, present, and coming existence into an affirmation of his eternal being.
God Song — Hillsong UNITED (2022) Revelation 1:8
The repeated description of God as eternally existing and still to come closely follows Revelation’s threefold formula for the everlasting Lord.
Hymn of the Ages — Rend Collective (2018) Revelation 1:8
The song directly applies Revelation’s paired first-and-last divine title to Jesus and emphasizes His eternal existence.
King — Beckah Shae (2019) Revelation 1:8
The song describes God across past, present, and future using the distinctive temporal formula Revelation applies to the eternal Lord.
Words We'll Sing Forever (Song Session) — Seph Schlueter, Essential Worship (2025) Revelation 1:8
The song directly uses Revelation’s divine title identifying God as the beginning and end, together with its threefold description of his eternal existence.
Sanctuary/Alpha & Omega/Total Praise — Israel & New Breed (2021) Revelation 1:8
The song directly uses Revelation’s divine title formed from the first and last letters of the Greek alphabet, identifying God as sovereign over the beginning and the end.
You Reign — MercyMe (2007) Revelation 1:8
The bridge closely adapts Revelation's threefold description of God's existence across present, past, and future, rearranging the first two elements. This divine title reinforces the song's declaration of sovereignty beyond creation.
Worthy — Rock City Worship (2024) Revelation 1:8
The divine title identifying the beginning and end and the vision of fiery eyes both closely reflect John's description of the glorified Lord.
I Am — Janet Paschal (2009) Revelation 1:8
The chorus directly reproduces God's designation using the first and last letters of the Greek alphabet, then expands it to emphasize His presence throughout the intervening span.
I Believe — Phil Wickham (2023) Revelation 1:8
The chorus adapts Revelation’s distinctive description of God as eternally existing across past, present, and future.
I Will Praise You — Hillsong Worship (2020) Revelation 1:8
The bridge combines Revelation’s titles for the eternal, almighty God with Christ’s declaration that he conquered death and possesses authority over death and Hades.
My Savior My God (Live) — Aaron Shust (2009) Revelation 1:8
The chorus adapts Revelation's threefold description of God's existence across present, past, and future. It expresses the final element as enduring future existence rather than God's coming.
He Does — Brandon Heath (2024) Revelation 1:8
The chorus uses the distinctive present-and-past formula from Revelation's description of the eternal God, though it omits the passage's future-oriented conclusion.
No One Else — Smokie Norful (2009) Revelation 1:8
The song uses the divine title formed from the first and last Greek letters. Its nearby emphasis on unlimited divine power particularly supports Revelation 1:8, which joins that title with God's almighty identity.
The King Of Glory - Live — Citipointe Worship & Alexander Pappas (2023) Revelation 1:8
The song applies Revelation’s eternal divine title to Christ and later reproduces the vision’s distinctive features: fiery eyes, wool-white hair, and an overwhelming voice.
Fight Fear — Sam Purpose (2022) Revelation 1:8
The song applies Revelation’s divine title for the one who encompasses the beginning and end to God’s sovereignty over history and the believer’s life.
Praise Yahweh - Live From Passion 2025 — Kristian Stanfill & Passion (2025) Revelation 1:8
The phrase 'The One who was and is to come' directly quotes the description of God in Revelation, emphasizing His eternal nature.
Look To The Lamb - Live — Jesus Culture (2023) Revelation 1:8
The song applies Revelation's eternal divine title to Christ and draws on John's vision of the exalted Son of Man, particularly his fiery eyes, wool-like hair, and voice resembling rushing waters.
Alpha And Omega (Live) — Bethel Music, Peter Mattis, Sarah Sperber (2024) Revelation 1:8
The song uses Revelation's distinctive divine title identifying God as the first and the last, emphasizing his eternal existence and sovereignty.
WORKING — Social Club Misfits & FERN & Marty (2025) Revelation 1:8
Fern uses Revelation’s exact divine title formed from the first and last letters of the Greek alphabet, identifying God as sovereign over all history.
BOUNCE — Voices of Fire & Pharrell Williams (2026) Revelation 1:8
The bridge applies Revelation's paired titles for God's sovereignty over beginning and end, alongside the designation of God as Almighty. Its accompanying emphasis on divine coming further aligns with this verse.
Words We'll Sing Forever — Seph Schlueter (2025) Revelation 1:8
The song directly uses Revelation’s titles for God as the beginning and end and as the eternal one present across past, present, and future.
Miracles — Kari Jobe (2017) Revelation 1:8
The bridge adapts Revelation's title for the eternal God, describing him as spanning past, present, and future.
Power — Elevation Worship (2018) Revelation 1:8
The chorus uses Revelation’s distinctive description of God as the eternal one who spans past, present, and future.
Adorar Sin Cesar (Live) — Bethel Music (2019) Revelation 1:8
The description of the eternal King in terms of past and present existence echoes Revelation’s formula for the one who transcends all ages.
Holy Moment — Phil Wickham (2023) Revelation 1:8
The bridge applies Revelation’s first-and-last divine title to God and pairs it with his eternal, unchanging existence.
Still Will I Love (Song for Refugees) — Sean Feucht (2018) Revelation 1:8
The song invokes God through the distinctive Revelation formula describing him as eternally existent and yet to come. Its wording is slightly abbreviated but clearly draws on Revelation’s titles for the Lord God Almighty.
You Were, You Are — Bluetree (2012) Revelation 1:8
The refrain closely adapts Revelation’s description of God's existence across past, present, and future, together with Jesus’ identification as the beginning and end of all things.
Knock Knock — Bryann T. (2020) Revelation 1:8
The song applies Revelation’s distinctive divine title formed from the first and last letters of the Greek alphabet to God, emphasizing his eternal sovereignty.
(Seeing You Again) For the First Time — Corpus Christi (2010) Revelation 1:8
The sequence describing God's past, present, and coming existence reproduces Revelation's divine self-identification. The accompanying assertion of omnipotence further supports this passage.
El Nombre De Jesús — Elevation Español (2026) Revelation 1:8
Jesus is identified through Revelation’s threefold formula of past existence, present existence, and future coming.
Alpha and Omega — Red Worship, Lizzie Morgan (2025) Revelation 1:8
The phrase 'Alpha and Omega' directly quotes God's self-identification in Revelation, emphasizing His eternal nature as the beginning and the end.
Eternal King — For All Seasons (2018) Revelation 1:8
The chorus adapts Revelation’s temporal title for God and explicitly retains the designation of the Almighty, presenting him as sovereign across all time.
Pride & Prejudice — Jackie Hill Perry (2025) Revelation 1:8
The song applies Revelation’s divine title for the beginning and end to God while presenting Him as sovereign over death and humanity’s final destiny.
How Holy (Live) — UPPERROOM & Andre'a Alexis (2025) Revelation 1:8
The bridge closely reproduces Revelation’s declarations of divine eternity and Christ’s identity as the beginning and end, the ever-living one who overcame death.
All Glory Forever - Live From Passion 2025 — Passion & Melodie Malone (2025) Revelation 1:8
The phrase 'the one who was and is to come' directly quotes the description of God in Revelation, emphasizing His eternal nature.
Lord of All — Crowder (2024) Revelation 1:8
The paired first-and-last Greek letters reproduce Revelation’s title for the eternal, almighty God.
John The Revelator — Brian Free & Assurance (2008) Revelation 1:9-17
The song explicitly recounts John's presence on Patmos, his spiritual encounter, his commission to write, and his vision of Christ with fiery eyes, metallic feet, and a voice compared to a trumpet and rushing waters. Christ's declaration of authority over beginning and ending also comes from this passage; the claim that John was abandoned to die is the song's embellishment.
Se Eu Pudesse (Ao Vivo) — Isadora Pompeo (2024) Revelation 1:9
The song reproduces John's vision of the glorified Christ through the white hair, fiery eyes, bronze-like feet, stars in the right hand, sword from the mouth, and sun-bright face. Its reference to John being on an island also explicitly identifies the setting of Patmos.
Island Prisoner — Saint (2011) Revelation 1:9-11
The persecuted witness confined to an island unmistakably evokes John on Patmos, where he was because of his testimony to Jesus. His visions preserved in a book also recall the command to write what he sees, including events yet to come.
I, John — Elvis Presley (2018) Revelation 1:11-17
The song retells John's encounter with the glorified Christ through the stars in his right hand, fiery eyes, sharp-sword imagery, John's fearful immobilization, and the command to record the vision. Some numbers and details are altered, especially twelve stars in place of Revelation's seven.
Agnus Dei (Live From Passion 2024) — Kristian Stanfill & Passion (2024) Revelation 1:12-18
The spontaneous section recites John’s vision of the glorified Son of Man among seven lampstands, including his appearance, John’s collapse, and Christ’s declaration of victory over death.
Lion and the Lamb — Crystal Lewis (2013) Revelation 1:13-14
The depiction of Jesus with fiery eyes closely reproduces a distinctive feature of John's vision of the exalted Christ. The song's identification of Jesus with humanity's heavenly representative also fits this passage's presentation.
Stay Close — Cory Asbury (2008) Revelation 1:14
The divine eyes depicted as fiery recall John’s vision of the risen Christ, whose eyes resemble a flame. The song adapts that distinctive visual image into a prayer for intimacy.
Fire Never Sleeps — Audio Adrenaline (2013) Revelation 1:14
The anticipated encounter with the Lord associates his eyes with fire, echoing Revelation’s description of the risen Christ’s eyes as flames. This specific visual detail distinguishes the connection from the song’s broader imagery of spiritual purification.
Alleluia — Jesus Culture (2014) Revelation 1:14-16
The paired descriptions of Christ’s fiery eyes and sunlike radiance closely reproduce the imagery of John’s opening vision of the risen Jesus.
Certainly — Israel & New Breed (2022) Revelation 1:14
The depiction of fire associated with God's eyes recalls John's vision of the exalted Christ, whose gaze signifies penetrating holiness and discernment. The song interprets that intense gaze as compatible with God's goodness rather than as a threat.
COUNT ’EM (REMIX) — Brandon Lake (2024) Revelation 1:14-16
The portrayal of Christ with fiery eyes and a sword proceeding from his mouth closely follows John's apocalyptic vision of the risen Christ.
God Almighty — Chris Tomlin (2008) Revelation 1:15
The opening compares God's voice to roaring water, closely matching John's description of the risen Christ's voice. The song's other imagery of heavenly worship strengthens the Revelation connection.
Making Melody — Sean Feucht (2014) Revelation 1:15
The comparison of God's voice to ocean waves closely echoes John's description of the risen Christ's voice as the sound of many waters.
Always and Forever (Live) — UPPERROOM & Ashley Bailey (2024) Revelation 1:15
The description of Christ's speech as resembling immense waters closely follows John's vision of the risen Christ, whose voice has the sound of surging waters.
When I Speak — Impending Doom (2009) Revelation 1:15
The comparison of a voice to flowing waters echoes Revelation’s description of Christ’s voice as the sound of many waters. The speaker adopts this biblical image as an aspiration for substantive, sincere speech rather than directly describing Christ.
This Is Amazing Grace — Phil Wickham (2013) Revelation 1:16
The description of Jesus's radiance closely adapts John's vision of his face shining with the sun's full brilliance.
Alive — Hillsong Worship (2013) Revelation 1:17-18
The declaration that the risen Jesus lives eternally closely echoes his self-description to John. The surrounding emphasis on his divine identity and authority over death reinforces this connection.
Fearless — Bethany Music (2018) Revelation 1:17-18
The depiction of the risen Jesus possessing the keys associated with death directly invokes Revelation’s image of Christ as the living one who died, rose, and now holds authority over Death and Hades.
My King Forever — Josh Baldwin (2020) Revelation 1:17-18
Christ's possession of the keys to the grave closely paraphrases the risen Jesus' declaration that he holds the keys of Death and Hades.
Leão de Judá — Julliany Souza (2025) Revelation 1:17
The song applies Revelation’s title for the one who stands at both boundaries of history to Christ, affirming his eternal supremacy.
I Know A Name — Elevation Worship (2025) Revelation 1:17-18
The risen King holding the keys of death and the grave directly uses Revelation's image of Christ possessing authority over death and Hades.
I Know A Name - Live — Elevation Worship (2025) Revelation 1:17-18
The risen Christ's possession of the keys governing death and Hades is unmistakably invoked. The song joins that authority to the wounds of his crucifixion.
Clamo A Cristo — Elevation Español (2025) Revelation 1:17-18
The risen Jesus is portrayed as having conquered death and taken its keys, closely matching Revelation’s depiction of Christ holding authority over death and Hades.
Revelator — Josh Garrels (2011) Revelation 1:17-18
The dreamer's collapse before Christ and Christ's identification as the beginning and end closely reproduce John's encounter with the risen Jesus. The song adapts Christ's reassuring response into a command to rise.
Jesus, Only Jesus — Matt Redman (2013) Revelation 1:18
The image of Jesus possessing keys recalls the risen Christ's declaration that he holds authority over Death and Hades. The opening emphasis on his power over death strengthens this connection, although the song describes the keys' significance more broadly as liberation.
Though You Were Rich — Matt Gilman (2013) Revelation 1:18
The risen Jesus' possession of the keys governing death and the realm of the dead directly echoes His declaration in Revelation.
Greater — Elevation Worship (2013) Revelation 1:18
The bridge invokes the distinctive image of the risen Christ possessing the keys of Death and Hades. The song portrays this authority as a conquest, although the passage states his possession of the keys without describing their seizure.
OMG — Tasha Cobbs Leonard (2022) Revelation 1:18
The risen Christ's possession of authority over death and Hades is represented through the specific image of taking their keys.
Anything but Easy — Casting Crowns (2022) Revelation 1:18
The identification of Christ as the One possessing the keys evokes the risen Jesus’ declaration of authority over death and Hades. The song applies that image of sovereign authority to release from spiritual captivity.
The Commission — CAIN (2020) Revelation 1:18
The song combines Christ's declaration that he died and now lives with his possession of the keys of death, closely paraphrasing the risen Christ's words in Revelation.
Freedom — xander. & Sam Rivera & Mike Teezy (2025) Revelation 1:18
The reference to Christ taking the keys evokes the risen Jesus’ authority over death and Hades.
Glorious Day — Ernie Haase & Signature Sound (2013) Revelation 1:18
The resurrection verse's declaration of Jesus' enduring life closely adapts the risen Christ's self-description in Revelation, where his former death is contrasted with his everlasting life.
There Is A King (Morning & Evening) — Elevation Worship (2021) Revelation 1:18
The risen Savior’s possession of authority over death is expressed through the specific image of holding its keys, closely paralleling Christ’s declaration in Revelation.
The War Ender — Becoming the Archetype (2012) Revelation 1:18
The divine speaker's possession of keys governing life and death closely adapts the risen Christ's declaration that he possesses the keys of Death and Hades. The surrounding resurrection imagery reinforces this identification.
Love Divine - Live — New Life Worship (2013) Revelation 1:18
The combination of Christ’s victory over death, his continuing life, and the imagery of keys recalls the risen Christ’s authority over death and Hades. The song’s additional depiction of sharing those keys is not stated in this verse.
Wake The Land — 11th Hour (2012) Revelation 1:18
The chorus depicts the risen Jesus possessing the keys associated with death and hell, unmistakably invoking Christ’s declaration that He holds the keys of death and Hades. The additional door-locking action is poetic elaboration rather than an event described in the passage.

Revelation 1 (King James Version)

¹ The Revelation of Jesus Christ, which God gave unto him, to shew unto his servants things which must shortly come to pass; and he sent and signified it by his angel unto his servant John:

² Who bare record of the word of God, and of the testimony of Jesus Christ, and of all things that he saw.

³ Blessed is he that readeth, and they that hear the words of this prophecy, and keep those things which are written therein: for the time is at hand.

⁴ John to the seven churches which are in Asia: Grace be unto you, and peace, from him which is, and which was, and which is to come; and from the seven Spirits which are before his throne;

⁵ And from Jesus Christ, who is the faithful witness, and the first begotten of the dead, and the prince of the kings of the earth. Unto him that loved us, and washed us from our sins in his own blood,

⁶ And hath made us kings and priests unto God and his Father; to him be glory and dominion for ever and ever. Amen.

⁷ Behold, he cometh with clouds; and every eye shall see him, and they also which pierced him: and all kindreds of the earth shall wail because of him. Even so, Amen.

⁸ I am Alpha and Omega, the beginning and the ending, saith the Lord, which is, and which was, and which is to come, the Almighty.

⁹ I John, who also am your brother, and companion in tribulation, and in the kingdom and patience of Jesus Christ, was in the isle that is called Patmos, for the word of God, and for the testimony of Jesus Christ.

¹⁰ I was in the Spirit on the Lord’s day, and heard behind me a great voice, as of a trumpet,

¹¹ Saying, I am Alpha and Omega, the first and the last: and, What thou seest, write in a book, and send it unto the seven churches which are in Asia; unto Ephesus, and unto Smyrna, and unto Pergamos, and unto Thyatira, and unto Sardis, and unto Philadelphia, and unto Laodicea.

¹² And I turned to see the voice that spake with me. And being turned, I saw seven golden candlesticks;

¹³ And in the midst of the seven candlesticks one like unto the Son of man, clothed with a garment down to the foot, and girt about the paps with a golden girdle.

¹⁴ His head and his hairs were white like wool, as white as snow; and his eyes were as a flame of fire;

¹⁵ And his feet like unto fine brass, as if they burned in a furnace; and his voice as the sound of many waters.

¹⁶ And he had in his right hand seven stars: and out of his mouth went a sharp twoedged sword: and his countenance was as the sun shineth in his strength.

¹⁷ And when I saw him, I fell at his feet as dead. And he laid his right hand upon me, saying unto me, Fear not; I am the first and the last:

¹⁸ I am he that liveth, and was dead; and, behold, I am alive for evermore, Amen; and have the keys of hell and of death.

¹⁹ Write the things which thou hast seen, and the things which are, and the things which shall be hereafter;

²⁰ The mystery of the seven stars which thou sawest in my right hand, and the seven golden candlesticks. The seven stars are the angels of the seven churches: and the seven candlesticks which thou sawest are the seven churches.