Revelation 19

Which worship songs are based on Revelation 19?

Christmas Worship Medley — Israel & New Breed (2023) Revelation 19:1
The combination of salvation, glory, honor, and power echoes heaven’s praise in Revelation 19, while the royal title given to Christ directly reflects the name associated with his supreme kingship later in the chapter.
I Know — Kings Kaleidoscope (2014) Revelation 19:1-4
The combination of heavenly acclamation and bowing before the throne closely recalls this scene of heavenly worship, where the multitude praises God and the elders and living creatures fall down before him. The song’s dancing is an imaginative addition rather than a detail from the passage.
Revelation 19: 1 (feat. Naomi Raine & Mav City Gospel Choir) — Maverick City Music & Naomi Raine & Mav City Gospel Choir (2021) Revelation 19:1
The song directly reproduces the heavenly multitude’s proclamation assigning salvation, glory, honor, and power to God. The title also explicitly identifies this verse as the source.
Worthy Is the Lamb — Brian Johnson (2010) Revelation 19:5-6
The closing invitation to praise God closely follows the command from the throne, alongside the surrounding hallelujah proclamation of God's reign. This combination continues the song's identifiable Revelation worship imagery.
Great Is the Chorus — Aaron Shust (2013) Revelation 19:6
The bridge directly reproduces the heavenly multitude’s acclamation of praise and declaration that the almighty God reigns.
He Reigns — Newsboys (2008) Revelation 19:6
The chorus pairs a collective hallelujah with the declaration of God’s reign, closely adapting the proclamation of the great multitude in Revelation. The surrounding emphasis on an immense heavenly chorus reinforces this specific connection.
Rushing Waters — Aaron Shust (2013) Revelation 19:6
The chorus combines the sound of a multitude, rushing water, and thunder with an announcement of God's reign. This distinctive combination closely follows John's description of heavenly praise.
God I Look to You — Bethel Music & Jenn Johnson (2011) Revelation 19:6
The bridge closely condenses the heavenly multitude's acclamation, combining hallelujah with the declaration that God reigns.
Hallelujah — David Phelps (2007) Revelation 19:6
The closing proclamation closely adapts Revelation’s acclamation of the omnipotent God’s reign, using the wording familiar from Handel’s Messiah.
Our God Reigns — Israel & New Breed (2015) Revelation 19:6
The chorus closely condenses the heavenly multitude’s acclamation, pairing hallelujah with the declaration of God’s reign. This distinctive combination points specifically to Revelation’s announcement of divine kingship.
Almighty Reigns — John Pape (2011) Revelation 19:6
The repeated declaration of the Almighty's reign closely condenses the heavenly multitude's proclamation of divine sovereignty in this verse.
Agnus Dei (Live From Passion 2024) — Kristian Stanfill & Passion (2024) Revelation 19:6
The opening proclamation closely reproduces the heavenly multitude’s celebration of God’s universal reign.
Canção Eterna - Ao Vivo — fhop music (2024) Revelation 19:6
The chorus closely follows the heavenly multitude's proclamation that the Lord God Almighty reigns, retaining its hallelujah, kingship, and divine-title language.
Who’s Gonna Stop the King — Crowder (2021) Revelation 19:6
The recurring acclamation joins hallelujah with the declaration of God’s reign, closely echoing the heavenly multitude’s celebration of the sovereign Lord.
Is He Worthy / Agnus Dei / We Fall Down — Maverick City Music & Nate Moore (2020) Revelation 19:6
The hallelujah proclamation that the Lord God Almighty reigns reproduces the roar of the great multitude at the marriage supper of the Lamb.
Seat At The Table — Crystal Lewis (2015) Revelation 19:6-9
The invitation to a heavenly feast with the bride and the Lamb unmistakably evokes the marriage supper of the Lamb. The thunderous communal singing also parallels the heavenly multitude's praise in this passage.
The Lord Almighty Reigns — Keith & Kristyn Getty (2022) Revelation 19:6-9
The chorus directly adopts the heavenly multitude’s acclamation of God’s almighty reign. The surrounding imagery of thunderous waters, Christ’s bride, and the coming feast further identifies the marriage supper scene in this passage.
The Lord Almighty Reigns — Keith & Kristyn Getty & Shane & Shane (2023) Revelation 19:6-9
The chorus directly adopts the heavenly multitude’s proclamation of God’s reign, while the surrounding imagery of thunderous waters, the bride, and the coming feast closely follows the same passage.
SO BE IT (feat. Tiffany Hudson & Chris Brown) - Live — Elevation Worship (2026) Revelation 19:7-9
The closing expectation joins the sudden nighttime return of Christ with Revelation's bridal imagery and its concluding appeal for Jesus to come.
We Are Loved — David Crowder Band (2009) Revelation 19:7-8
The portrayal of the Church as a pure bride clothed in white evokes the Lamb’s bride, who is prepared for marriage and granted bright, pure linen.
Tomb To The Table — 11th Hour (2012) Revelation 19:7-9
The anticipated wedding banquet with Christ unmistakably invokes the marriage supper of the Lamb. The song extends its table imagery into the believer's future fellowship with Christ.
Save Me A Seat — Brian Free & Assurance (2007) Revelation 19:7-9
The heavenly wedding banquet and identification of Jesus as the bridegroom unmistakably reference the wedding celebration of the Lamb. The imagined seating beside a departed loved one is the song’s personal elaboration, not a detail promised in this passage.
Dia e Noite - Ao Vivo — MORADA (2020) Revelation 19:7-9
The direct address to the Bride of the Lamb invokes Revelation's marriage imagery, in which the redeemed people await union with Christ, the Lamb.
Carry the Fire — Andrew Peterson (2012) Revelation 19:7-9
The wedding feast and the bride's preparation closely adapt the announcement of the Lamb's marriage, where his bride has made herself ready and guests are welcomed to the marriage supper.
Wedding Day — Casting Crowns (2011) Revelation 19:7-8
The heavenly wedding and the bride’s white clothing closely evoke the marriage of the Lamb, whose bride is granted bright, pure linen. The song emphasizes that her bridal righteousness is received from Christ.
Altar — Chaotic Resemblance (2022) Revelation 19:7-8
The waiting bride dressed in white and identified as the Lamb's wife directly reflects Revelation's marriage imagery for Christ and his redeemed people.
I Believe — Evan Craft (2023) Revelation 19:7-8
The outro portrays the church as Christ’s bride clothed in white, closely matching Revelation’s vision of the Lamb’s bride made ready in clean garments.
Even So Come — Passion, Chris Tomlin (2015) Revelation 19:7
The church's portrayal as a bride preparing for her approaching bridegroom echoes the Lamb's marriage and the readiness of his bride. The song's surrounding references to Revelation strengthen this identification.
Faithful to the End — Cory Asbury (2009) Revelation 19:7-9
The expectation that Christ will return to marry his people draws on the marriage of the Lamb and his bride. The song expresses this corporate bridal identity through the individual believer's anticipation of union with Christ.
Cry Out (Live From Passion 2024) — Brett Younker & Passion (2024) Revelation 19:7-16
The depiction of Christ loving his bride, returning with fiery eyes, and bearing the supreme royal titles draws unmistakably from Revelation's vision of the bride and the returning victorious Christ.
When — Kirk Franklin (2015) Revelation 19:7-8
The anticipated wedding and waiting bride invoke the marriage of the Lamb. The surrounding imagery of white clothing reinforces this bridal picture, although the song applies that clothing to the stars.
Beauty Will Rise — Steven Curtis Chapman (2009) Revelation 19:7-9
The anticipated wedding celebration and feast evoke the marriage supper of the Lamb. The surrounding vision of God’s final restoration makes this more specific than an ordinary wedding image.
New Jerusalem — Matt Gilman (2013) Revelation 19:7
The bride’s marriage to the Lamb directly invokes Revelation’s announcement of the Lamb’s wedding and the readiness of his bride.
Beautiful — Phil Wickham (2007) Revelation 19:7-9
The gathering of Christ's people as his bride for an eternal wedding unmistakably evokes the marriage of the Lamb. The wedding bells are a poetic addition rather than a detail from the passage.
ROOFTOP — Hulvey & nobigdyl. (2026) Revelation 19:9
The marriage feast, renewed earth, and golden roadway form a specific cluster of Revelation’s images for the Lamb’s wedding celebration and the New Jerusalem.
Suppertime — Joey + Rory (2016) Revelation 19:9
The prepared heavenly banquet and final summons to supper evoke the marriage supper of the Lamb, where the redeemed are invited to an eschatological feast.
Terror in the Sky — Saint (2008) Revelation 19:11-14
The conquering rider, white horse, fiery eyes, and heavenly followers clothed in white linen unmistakably draw on Revelation’s vision of Christ leading heaven’s armies.
In the Night — Andrew Peterson (2010) Revelation 19:11-16
The final vision of Christ arriving as a victorious warrior with a sword strongly recalls Revelation's heavenly rider. The song adapts the image into a wielded weapon; Revelation depicts the sword proceeding from his mouth.
The Dark Before the Dawn — Andrew Peterson (2015) Revelation 19:11-16
The approaching mounted King accompanied by heavenly armies evokes Revelation's vision of Christ riding from opened heaven with the armies of heaven following him. The clouds and singing embellish rather than directly reproduce that vision.
Coming Soon — Chris Tomlin (2025) Revelation 19:11-16
The imagery of Christ riding on a white horse and the mention of His name above all names evokes the vivid description found in Revelation of Christ's triumphant return as a conquering king.
Faithful — Chris Tomlin (2010) Revelation 19:11
The chorus assigns the Lord the paired title given to the heavenly rider in John's vision of Christ's victorious return.
Faithful — Crystal Lewis (2015) Revelation 19:11
The second verse identifies God using the paired designation given to the heavenly rider in Revelation. Presenting these attributes as a name makes the connection more specific than a general affirmation of divine reliability.
Bright, the Rider! — Brian Sauvé (2021) Revelation 19:11-16
The opened heaven, royal diadem, and arriving rider unmistakably evoke Revelation’s vision of the victorious returning Christ.
God Wins — Bryson Gray (2020) Revelation 19:11
The song combines Christ’s return, spiritual warfare, the Devil’s temporary activity, and his ultimate defeat into the same apocalyptic framework depicted in Revelation’s final battle and judgment.
Find No Fault — Fred Hammond (2009) Revelation 19:11
The song combines Revelation’s paired descriptions of the heavenly rider’s faithfulness and truthfulness with his title of supreme kingship. Their appearance together makes this passage a particularly strong match.
Look. At. Me. — Kings Kaleidoscope (2022) Revelation 19:11-16
The outro depicts Jesus as a riding, conquering king, strongly evoking Revelation’s victorious Messiah who rides forth to defeat his enemies and rule as King of kings.
King Jesus (Live) — Brooke Ligertwood (2022) Revelation 19:11-16
The blazing eyes, inscribed thigh, royal name, mounted return, and final battle unmistakably evoke Revelation’s vision of Christ as the conquering rider and supreme king.
Crushing Snakes — Crowder (2018) Revelation 19:11-16
The bridge depicts the returning heavenly King with fiery eyes and a white horse, unmistakably drawing on Revelation's vision of Christ arriving as the victorious rider and ruler of creation.
I Will Call Out Your Name — John Pape (2022) Revelation 19:11
The song applies Revelation’s distinctive paired title for the victorious Christ directly to Jesus.
Leão de Judá — Julliany Souza (2025) Revelation 19:11-21
The bridge closely follows John’s vision of Christ returning as the faithful and true rider on a white horse, with fiery eyes, a sharp sword issuing from his mouth, a blood-marked robe, and hostile forces assembled for defeat.
I Will Follow (You Are with Me) — Jeremy Camp (2015) Revelation 19:11-16
The vision of the heavens opening and Christ appearing with heavenly armies closely matches Revelation's portrayal of his victorious arrival. The combination of an opened heaven, accompanying armies, and conquest makes this a specific apocalyptic allusion.
Through the Sky — Saint (2010) Revelation 19:11-16
The approaching heavenly judge with fiery eyes closely matches Revelation’s vision of Christ coming from opened heaven to judge and wage war. The surrounding apocalyptic judgments make this passage a stronger match than other descriptions of Christ’s fiery eyes.
White Horse — Skillet (2022) Revelation 19:11-16
The central rider is Revelation’s returning Christ: mounted on a white horse, judging and waging war, commanding heaven’s armies, and defeating his enemies with the sword proceeding from his mouth.
Revelator — Josh Garrels (2011) Revelation 19:11-16
Christ's approach as a mounted warrior wearing a blood-colored robe directly evokes Revelation's heavenly rider. The song's emphasis on his warfare and sovereign rule reinforces this specific identification.
Warriors of the Son — Saint (2011) Revelation 19:11-21
The returning royal figure, his accompanying army, and the confrontation with the beast specifically evoke Revelation's final battle. The song compresses the beast's capture and the defeat of its forces into a general portrayal of its destruction.
Armageddon Valley Someday — ApologetiX (2010) Revelation 19:11-21
Jesus commanding an army and decisively defeating the Beast unmistakably evokes the heavenly rider, his accompanying armies, and the Beast’s defeat in Revelation. These specific figures and events establish a connection beyond a general theme of divine victory.
Wrath of the Lamb — Chaotic Resemblance (2022) Revelation 19:12
The song gives a near-verbatim recitation of Christ's apocalyptic appearance, including his fiery gaze, mouth-borne sword, rule over the nations, winepress judgment, and supreme royal title.
Only One God — Chris Quilala (2016) Revelation 19:12
The depiction of Christ wearing numerous crowns strongly evokes Revelation’s victorious rider, whose many diadems signify unrivaled sovereignty.
Crown Him (Majesty) — Chris Tomlin (2013) Revelation 19:12
The opening’s multiple crowns and the chorus’s supreme royal title reproduce distinctive features of Revelation’s victorious Christ: his many diadems and his sovereignty over all kings.
Glory (The End) — Jackie Hill Perry (2025) Revelation 19:12-16
The song depicts the returning exalted Christ with fiery eyes and an identifying title on His thigh, unmistakably drawing on Revelation's rider on the white horse.
Hu Yavo (He will Come) — Joshua Aaron (2014) Revelation 19:15-16
The conquering king's issuing sword evokes Revelation's royal warrior, whose sword executes judgment over the nations. The song adapts the image without specifying that the sword proceeds from his mouth.
I Still Have You — Smokie Norful (2022) Revelation 19:16
The paired royal titles in the outro reproduce the designation given to the victorious Christ in Revelation.
Christ is Come — Big Daddy Weave (2009) Revelation 19:16
The bridge reproduces the paired titles of supreme kingship and lordship inscribed on Revelation's victorious rider. Their application to Jesus makes this passage a stronger contextual match than other occurrences of similar titles.
Break — Hostyle Gospel (2013) Revelation 19:16
The repeated supreme royal title applied to Jesus reproduces, with a minor grammatical variation, the title assigned to Revelation's victorious rider.
Mighty One — Byron Cage (2012) Revelation 19:16
The song applies to God the royal title borne by the victorious Christ in Revelation. Its later focus on Jesus supports this identification.
This Is My Beloved — Matt Gilman (2013) Revelation 19:16
The paired titles of supreme royal and lordly authority reproduce the name displayed on Revelation's victorious rider.
Who Has Held — Bluetree (2008) Revelation 19:16
The closing praise reproduces the paired royal titles assigned to Christ in Revelation. Although these titles also appear together in 1 Timothy 6:15, their wording and order most closely match Revelation 19:16.
What Child Is This? — Carrie Underwood (2008) Revelation 19:16
The hymn applies to the infant Jesus the supreme royal title borne by the victorious Christ in Revelation. The same designation also appears in Revelation 17:14, so the wording does not uniquely identify one occurrence.
Famous — Isaac Carree (2013) Revelation 19:16
The chorus applies to Jesus the royal title inscribed on the victorious rider in Revelation, directly invoking his sovereignty over all earthly rulers.
Most Beautiful Time of the Year — Beckah Shae (2010) Revelation 19:16
The supreme royal title assigned to Jesus matches the title inscribed on the victorious rider in Revelation. The song’s emphasis on Christ’s continuing reign reinforces this connection.
It's Just Like Heaven — Greater Vision (2011) Revelation 19:16
The song applies to Jesus the supreme royal title given to Christ in Revelation. This directly reproduces a distinctive biblical designation, while placing his sovereignty in the context of personal companionship and guidance.
The Lion and the Lamb — Big Daddy Weave (2015) Revelation 19:16
The supreme royal title assigned to the arriving Jesus matches the title borne by Revelation’s victorious rider. The song’s emphasis on his return and conquest supports this particular reference.
El Nombre De Jesús — Elevation Español (2026) Revelation 19:16
The royal title given to Jesus draws directly from Revelation’s designation of the victorious Christ as supreme over every king and lord.
Chasing After You — VaShawn Mitchell (2011) Revelation 19:16
Jesus receives the royal title given to the victorious Christ in Revelation, identifying his sovereignty over every earthly ruler. This is a specific biblical title rather than merely a general expression of praise.
This Changes Everything — 11th Hour (2014) Revelation 19:16
The song applies to Jesus the supreme royal title inscribed on the returning Christ in Revelation. This biblical designation contrasts his sovereign identity with the humiliation of his execution.
Your Name Is God — Elevation Worship (2026) Revelation 19:16
The bridge directly uses Revelation's titles for Christ as the supreme King and Lord and as the Alpha and Omega.
Worthy Praise — Daryl Coley (2021) Revelation 19:16
The paired royal titles applied to God directly echo Revelation's designation of the triumphant Christ as supreme over every ruler and lord.
What Child Is This? — Josh Groban (2007) Revelation 19:16
The supreme royal title applied to Jesus reproduces part of the designation given to the victorious Christ in Revelation. The carol applies that title to him as an infant rather than depicting Revelation’s scene.
Noel (He Is Born) — Tommee Profitt & Stanaj (2020) Revelation 19:16
The bridge applies Revelation’s paired supreme royal titles to the newborn Christ, identifying him as sovereign over every earthly ruler.
I Praise You — I.D.O.4. (2021) Revelation 19:16
The song applies Revelation’s paired supreme royal titles directly to Jesus, identifying him as ruler over every other authority.
I Will Look Up — Elevation Worship (2014) Revelation 19:16
The bridge uses the supreme kingship title borne by Christ in Revelation. Its direct address to Jesus supports this passage rather than other biblical uses of the title.
My Statement Of Faith — Greater Vision (2010) Revelation 19:16
The climactic royal designation reproduces the paired titles assigned to the victorious returning Christ in Revelation. The song's return-and-vindication setting particularly supports this passage.
Stand by Me (reprise) — Ernie Haase & Signature Sound (2012) Revelation 19:16
The royal title given to Christ in the heavenly worship scene directly reproduces part of the designation borne by Revelation's victorious rider.
My World Needs You — Kirk Franklin (2015) Revelation 19:16
The refrain applies the paired royal titles from this verse directly to Jesus, identifying his sovereignty over every earthly ruler.
Spirit of Love — Anthony Hamilton (2014) Revelation 19:16
The repeated designation of Christ as supreme over all kings closely adapts His royal title in Revelation. The later anticipation of His return reinforces this connection to the returning, victorious Christ.
Born That We May Have Life — Chris Tomlin (2009) Revelation 19:16
The outro reproduces the paired royal titles assigned to the victorious Christ in Revelation. Applying these titles to the newborn Jesus connects his humble arrival with his ultimate sovereignty.
The Way (Acoustic) — Jeremy Camp (2010) Revelation 19:16
The chorus uses the supreme royal title assigned to the victorious Christ in Revelation.
Oh, My Lord — Mandisa (2007) Revelation 19:16
The bridge applies to Jesus the supreme royal title inscribed on the returning Christ in Revelation. This is a specific biblical designation, rather than merely a general statement about God's authority.
Command My Soul — ReFRESH Worship & Michael Perry Jr. & Diana Marie (2025) Revelation 19:16
The song assembles Revelation's distinctive titles for Jesus: the first and last, the beginning and end, David's descendant, and the supreme King and Lord. This cluster is unmistakably drawn from Revelation's portrayal of Christ.
The Great Overcomer — Aaron Shust (2015) Revelation 19:16
The bridge applies to Jesus the supreme royal title borne by Revelation’s victorious rider. The song’s emphasis on Christ’s conquest supports this identification.
He Reigns (Spontaneous) - Live — Bethel Music & Dante Bowe (2021) Revelation 19:16
The royal title applied to Jesus is the distinctive title displayed by the victorious Christ in Revelation.
Rest — Bluetree (2014) Revelation 19:16
The pre-chorus adapts Revelation’s title identifying Christ as sovereign over every lord. This is a recognizable biblical title, although it also appears in Revelation 17:14.
Lift Up Your Eyes — Danny Gokey (2015) Revelation 19:16
The opening verse uses the supreme royal title bestowed on Christ in Revelation, contrasting his sovereignty with his humble manger bed. The same title also appears in Revelation 17:14.
He Shall Reign Forevermore — Essential Worship (2017) Revelation 19:16
The refrain combines Revelation's declaration of an everlasting reign with the exalted royal title assigned to Christ at his victorious appearing.
Give Me Oil in My Lamp — VeggieTales (2009) Revelation 19:16
The chorus applies to Jesus the supreme royal designation given to the victorious rider in Revelation. This is a direct connection through the biblical title, not an allusion to the surrounding battle narrative.
We Exalt Your Name — Kari Jobe (2012) Revelation 19:16
The song applies Revelation's distinctive supreme royal title to Jesus. Its repeated declarations of his universal reign reinforce that identification, without retelling the surrounding vision.
Take It All Back - What The Enemy Stole — Tauren Wells, Davies. (2024) Revelation 19:16
The bridge applies Revelation’s paired supreme royal titles directly to Jesus, identifying him as sovereign over every other ruler.
You Reign Yahweh - Live — Victory House Worship (2025) Revelation 19:16
The song refers to God as the 'King of Kings' and 'Lord of Lords,' which directly quotes the title given to Jesus in Revelation, emphasizing His ultimate authority and sovereignty.
What Child Is This — Michael W. Smith (2014) Revelation 19:16
The song applies to Jesus the royal title assigned to the victorious Christ in Revelation, identifying the newborn with Christ's supreme sovereignty.
He Is Born (Reprise) [feat. Chris Tomlin] — Tommee Profitt, Fleurie, Chris Tomlin (2020) Revelation 19:16
The paired royal titles given to the newborn Christ reproduce Revelation’s distinctive declaration of his supremacy over every ruler.
Worship, Honor and Love — Shekinah Glory Ministry (2007) Revelation 19:16
The song uses the paired royal titles assigned to Christ in this verse, declaring His supremacy over all earthly kings and rulers.
Revelation Song — Guy Penrod (2014) Revelation 19:16
The chorus uses the royal title assigned to Christ in Revelation's vision of the victorious heavenly rider. The song's sustained Revelation imagery supports this source.
More Than Enough — Newsboys (2011) Revelation 19:16
The third verse gives the victorious Jesus the royal superlative assigned to Christ in Revelation. The context of his triumph and glory supports this identification rather than passages applying a similar title to earthly rulers.
My Eyes Have Seen — Passion (2022) Revelation 19:16
The bridge combines Revelation's supreme royal titles for Christ with the heavenly creatures' continual acclamation of the almighty and eternally reigning Lord.
Great Things — Don Moen (2012) Revelation 19:16
The chorus applies to Jesus the royal supremacy title borne by the victorious rider in Revelation. This reproduces a distinctive biblical designation rather than merely expressing a general theme of divine greatness.
God of This City — Bluetree (2009) Revelation 19:16
The song's description of divine kingship above every other king closely adapts the royal title assigned to Christ in Revelation. It invokes that title without referencing the surrounding vision's narrative details.
He Shall Reign Forevermore — Chris Tomlin (2015) Revelation 19:16
The chorus applies to the newborn Jesus the paired supreme royal titles inscribed on Revelation's victorious rider.
Angels We Have Heard On High — Kierra Sheard & Chrisette Michele (2014) Revelation 19:16
The outro uses the paired royal titles inscribed on the victorious rider in Revelation, identifying Jesus as supreme over every ruler.
Alleluia, Sing — David Crowder Band (2009) Revelation 19:16
The chorus applies to Christ the royal title explicitly inscribed on the victorious rider in Revelation 19:16. The surrounding repeated praise also fits that chapter’s celebration of divine sovereignty.
You Are — Team Eternity Ghana & Ps. Isaiah Fosu-Kwakye Jnr (2024) Revelation 19:16
The song applies Revelation’s supreme royal title to Jesus, presenting him as the victorious ruler above every other king.
Hallelujah! It's Christmas! — Phil Wickham (2024) Revelation 19:16
The paired royal titles assigned to Christ directly match the designation given to the victorious Messiah in Revelation.
Jesus, Savior — Chris August (2010) Revelation 19:16
The refrain applies to Jesus the distinctive royal title inscribed on the victorious rider in Revelation. This imports language from Revelation into the song’s Nativity setting rather than retelling that vision.
Your Majesty — Aaron Shust (2011) Revelation 19:16
The chorus reformulates the royal title assigned to Christ in Revelation, declaring his supremacy over every other king.
We Cry Holy (spontaneous) — Bethel Music (2020) Revelation 19:16
The song applies Revelation's distinctive paired royal titles to Jesus, identifying him with the victorious and universally sovereign Christ.
Primed and Ready — Saint (2011) Revelation 19:19-21
The beast, its human adherents, and their ultimate defeat by Christ as king evoke Revelation’s confrontation between the beast’s forces and the victorious heavenly rider. The song loosely combines their punishments rather than reproducing the passage’s distinctions.

Revelation 19 (King James Version)

¹ And after these things I heard a great voice of much people in heaven, saying, Alleluia; Salvation, and glory, and honour, and power, unto the Lord our God:

² For true and righteous are his judgments: for he hath judged the great whore, which did corrupt the earth with her fornication, and hath avenged the blood of his servants at her hand.

³ And again they said, Alleluia. And her smoke rose up for ever and ever.

⁴ And the four and twenty elders and the four beasts fell down and worshipped God that sat on the throne, saying, Amen; Alleluia.

⁵ And a voice came out of the throne, saying, Praise our God, all ye his servants, and ye that fear him, both small and great.

⁶ And I heard as it were the voice of a great multitude, and as the voice of many waters, and as the voice of mighty thunderings, saying, Alleluia: for the Lord God omnipotent reigneth.

⁷ Let us be glad and rejoice, and give honour to him: for the marriage of the Lamb is come, and his wife hath made herself ready.

⁸ And to her was granted that she should be arrayed in fine linen, clean and white: for the fine linen is the righteousness of saints.

⁹ And he saith unto me, Write, Blessed are they which are called unto the marriage supper of the Lamb. And he saith unto me, These are the true sayings of God.

¹⁰ And I fell at his feet to worship him. And he said unto me, See thou do it not: I am thy fellowservant, and of thy brethren that have the testimony of Jesus: worship God: for the testimony of Jesus is the spirit of prophecy.

¹¹ And I saw heaven opened, and behold a white horse; and he that sat upon him was called Faithful and True, and in righteousness he doth judge and make war.

¹² His eyes were as a flame of fire, and on his head were many crowns; and he had a name written, that no man knew, but he himself.

¹³ And he was clothed with a vesture dipped in blood: and his name is called The Word of God.

¹⁴ And the armies which were in heaven followed him upon white horses, clothed in fine linen, white and clean.

¹⁵ And out of his mouth goeth a sharp sword, that with it he should smite the nations: and he shall rule them with a rod of iron: and he treadeth the winepress of the fierceness and wrath of Almighty God.

¹⁶ And he hath on his vesture and on his thigh a name written, KING OF KINGS, AND LORD OF LORDS.

¹⁷ And I saw an angel standing in the sun; and he cried with a loud voice, saying to all the fowls that fly in the midst of heaven, Come and gather yourselves together unto the supper of the great God;

¹⁸ That ye may eat the flesh of kings, and the flesh of captains, and the flesh of mighty men, and the flesh of horses, and of them that sit on them, and the flesh of all men, both free and bond, both small and great.

¹⁹ And I saw the beast, and the kings of the earth, and their armies, gathered together to make war against him that sat on the horse, and against his army.

²⁰ And the beast was taken, and with him the false prophet that wrought miracles before him, with which he deceived them that had received the mark of the beast, and them that worshipped his image. These both were cast alive into a lake of fire burning with brimstone.

²¹ And the remnant were slain with the sword of him that sat upon the horse, which sword proceeded out of his mouth: and all the fowls were filled with their flesh.