Revelation 21

Which worship songs are based on Revelation 21?

Someday at Christmas — Brian Courtney Wilson (2021) Revelation 21:1-4
The combined vision of a new world without tears strongly resembles Revelation’s renewed creation, where former suffering and death have passed away.
LAY ME DOWN (Roo’s Song) — P.O.D. (2024) Revelation 21:1-5
The song closely follows John's vision of the new creation, including the disappearance of the former heaven and earth, the absence of the sea, the removal of tears and pain, and the renewal of all things.
Is He Worthy - Live — Shane & Shane (2026) Revelation 21:1-3
The promised renewed creation, God dwelling with humanity, and divine glory providing its light are specific images from John’s vision of the new creation and New Jerusalem.
ROOFTOP — Hulvey & nobigdyl. (2026) Revelation 21:1
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.
New Day — Josh Garrels (2020) Revelation 21:1
The song explicitly anticipates God defeating evil and replacing the present order with a renewed heaven and earth, closely paraphrasing John's vision of the new creation.
Nos Últimos Dias - Ao Vivo — fhop music (2024) Revelation 21:1-5
The promised new heaven and earth, removal of grief, renewal of all things, and God dwelling among humanity closely summarize John’s vision of the new creation.
Is He Worthy? — CeCe Winans (2024) Revelation 21:1-3
The anticipated renewal of all things, God dwelling with humanity, and divine glory replacing ordinary sources of light closely reflect John’s vision of the new creation and New Jerusalem.
He Who Is To Come (Live From Passion 2024) — Kristian Stanfill & Passion (2024) Revelation 21:1-4
The opening verses describe the former order passing away, the end of sorrow and pain, the absence of night, and divine light illuminating the renewed creation.
New Jerusalem — Matt Gilman (2013) Revelation 21:2-5
The song closely reproduces the descending bridal city, God dwelling with humanity, the covenant declaration of belonging, the removal of tears and suffering, and the renewal of all things.
In You — MercyMe (2008) Revelation 21:2-5
The combination of bridal anticipation and a future dwelling characterized by renewal recalls Revelation’s bride imagery and God’s promise to renew all things. These details together make the connection more specific than a general longing for heaven.
Twelve Gates to the City — Buddy Greene (2010) Revelation 21:2
The opening combines the holy city's descent from heaven and bridal preparation with the description of its equal dimensions.
House of God — John Waller (2009) Revelation 21:2-5
The combination of bridal imagery, God's dwelling among people, and comprehensive renewal echoes Revelation's vision of the holy city as a bride. The renewal language closely adapts God's declaration that he makes everything new.
The Decree (Live on Octane) — Lacey Sturm (2024) Revelation 21:2-5
The chorus evokes John's vision of the new creation, where God's dwelling descends from heaven, death is abolished, and all things are made new.
Carry the Fire — Andrew Peterson (2012) Revelation 21:2
The descending city unmistakably evokes John's vision of the New Jerusalem coming down from heaven. Its central illumination also recalls God's glory and the Lamb lighting the city, though Revelation explicitly says ordinary sunlight is unnecessary.
Bright, the Rider! — Brian Sauvé (2021) Revelation 21:2-5
Jerusalem depicted as an adorned bride alongside the renewal of the world closely follows John’s vision of the New Jerusalem and creation made new.
Maybe Next Year — Andrew Peterson (2018) Revelation 21:2-5
The anticipated New Jerusalem, the removal of tears, and God's renewal of all things closely follow John's vision of the new creation.
Where Cross the Crowded Ways of Life — Buddy Greene (2010) Revelation 21:2
The closing vision of God’s city coming down from heaven unmistakably evokes John’s vision of the New Jerusalem descending from heaven. The direction of movement distinguishes this from a general hope of going to heaven.
The Other Side Of The End — Brandon Heath (2024) Revelation 21:2
The imagined heavenly city and its pearl gate draw specifically on John's vision of the New Jerusalem. The song's express preference for Revelation confirms that this imagery is scripturally intentional rather than merely cultural.
John The Revelator — Brian Free & Assurance (2008) Revelation 21:2
The repeated account of John seeing Jerusalem descend directly identifies his vision of the holy city coming down from heaven from God.
How I Got Over (live at New Temple Missionary Baptist Church, Los Angeles, January 13, 1972) (single edit) — Aretha Franklin (2021) Revelation 21:2
The anticipated New Jerusalem and its golden streets reproduce distinctive imagery from John's vision of the restored holy city.
Redemption: A Grief Observed — A Hope for Home (2009) Revelation 21:3-6
The song closely reproduces the announcement of God dwelling with humanity and the abolition of death, mourning, crying, and pain. Its closing command to record the promise and declaration of completion also follow this passage.
Zion & Babylon — Josh Garrels (2008) Revelation 21:3
The description of the holy city as the place where God lives with humanity closely adapts the announcement accompanying the arrival of the New Jerusalem.
No Place Like Home — Anne Wilson (2022) Revelation 21:3-4
The preacher’s description of a future home where God removes tears and heals the suffering caused by death closely paraphrases Revelation’s vision of the new creation, where death, mourning, and pain are abolished.
Hymn Of Heaven - Live — Brian Johnson & Bethel Music & Zahriya Zachary (2021) Revelation 21:3-4
The song closely follows the vision of God dwelling with his people, personally removing their tears, and bringing death and pain to an end.
Me on Your Mind — Matthew West (2022) Revelation 21:3-4
The expectation of a future home where sorrow and tears are removed echoes the vision of God dwelling with his people and abolishing mourning in the new creation.
Intro to Glory — KB (2023) Revelation 21:3-4
The song anticipates God's final arrival and direct presence alongside the complete end of pain. That combination closely reflects the new-creation promise that God will dwell with humanity and suffering will cease.
Song Of The Saints (with Chris Tomlin) [Live] — Phil Wickham (2026) Revelation 21:3-4
The returning King personally ending the saints' tears closely paraphrases Revelation's promise that God will remove every tear in the renewed creation.
O Come, O Come, Emmanuel — Sovereign Grace Music (2014) Revelation 21:3-4
The closing verse joins the end of pain and sorrow with God's dwelling among his people. This pairing closely reflects Revelation's description of the renewed creation.
'Til the Storm Passes By — Gaither Vocal Band (2018) Revelation 21:3-4
The final vision of dwelling in God's presence after sorrow, darkness, and danger have permanently ended closely reflects Revelation's description of the new creation, where God lives with his people and night and suffering are no more.
He’s Never Gunna Change — Lauren Daigle (2023) Revelation 21:3-4
The promise that God removes sorrow and provides an eternal home evokes the new creation, where God dwells with his people and personally ends their mourning.
The Center of It All — Mac Powell (2021) Revelation 21:3-4
The promise that God will personally remove his people’s tears in their heavenly home closely follows John’s vision of final restoration.
What An Awesome God (with Michael W. Smith) [Song Session] — Phil Wickham (2026) Revelation 21:3-5
The expectation that God will remove tears, pain, and sorrow at Christ's coming directly reflects Revelation's vision of creation made new and suffering abolished.
There Is A King (Morning & Evening) — Elevation Worship (2021) Revelation 21:3-4
The anticipated direct presence of God and the removal of every tear closely follow Revelation’s vision of God dwelling with his people and ending grief and death.
Is He Worthy / Agnus Dei / We Fall Down — Maverick City Music & Nate Moore (2020) Revelation 21:3
Questions about whether God intends to dwell again with humanity and whether the glory of the Lord will be light in our midst paraphrase the promise of God's dwelling with his people in the new Jerusalem.
More Than Welcome — Aaron Shust (2019) Revelation 21:3-4
The promise that God personally removes his people's tears echoes the vision of God's dwelling with humanity and ending their sorrow.
A Million Years — Paul Baloche (2020) Revelation 21:3-4
The promise that tears will cease in God's presence directly evokes the vision of God dwelling with his people and wiping away every tear in the new creation.
Lord Of My Life - Live — The Belonging Co & Andrew Holt (2023) Revelation 21:3-4
The anticipated day when sorrow and tears cease closely reflects John's vision of God dwelling with his people in the new creation.
Blood — American Arson (2023) Revelation 21:3-4
The closing vision of permanent freedom from pain, injury, and conflict closely reflects Revelation's description of the new creation, where suffering and death are abolished in God's presence.
Hallelujah — Cory Asbury (2009) Revelation 21:4
The bridge’s combined promises that tears, death, and pain will cease directly paraphrase the description of life in God’s new creation.
Since Jesus Passed By — Ernie Haase & Signature Sound (2008) Revelation 21:4
The anticipated future without tears evokes Revelation's promise that God will wipe away every tear and bring mourning and pain to an end.
Wings in the Morning — Johnny Cash (2012) Revelation 21:4
The opening pairs the end of death with the end of bodily pain, closely adapting the specific promises in John's vision of the new creation.
What Are They Doing in Heaven Today — Mavis Staples (2013) Revelation 21:4
The refrain’s description of heavenly existence without sorrow closely echoes Revelation’s promise that mourning, crying, and pain will cease. The verses about earthly illness and tears reinforce this specific connection.
Break — Hostyle Gospel (2013) Revelation 21:4
The closing declaration that tears and pain will cease closely adapts the paired promises in Revelation's description of God's renewed creation.
I'm In The Midst — Fred Hammond (2013) Revelation 21:4
The chorus depicts God personally wiping away the sufferer’s tears, echoing Revelation’s distinctive image of divine consolation. The song applies that image to present suffering rather than describing the passage’s future setting.
See — Steven Curtis Chapman (2009) Revelation 21:4-5
The bridge closely reproduces two adjacent promises in John’s vision: God’s removal of every tear and his renewal of all things. Their pairing identifies Revelation 21 specifically rather than a general hope of comfort.
Simply Redeemed — Brian Courtney Wilson (2009) Revelation 21:4
The ending combines the disappearance of tears and pain, closely adapting Revelation's description of life in the new creation. This specific pairing identifies the passage more clearly than a general hope for heaven would.
Heaven Is The Face — Steven Curtis Chapman (2009) Revelation 21:4
The bridge pictures heaven as illuminated by God's glory and free from illness and permanent separation. These combined details strongly recall the New Jerusalem, where God's glory provides light and death, mourning, and pain cease.
Homesick For Heaven (Petey Remix) — Phil Wickham (2026) Revelation 21:4
The vision of tears being removed and death and pain coming to an end directly paraphrases John’s description of life in the new creation.
Imagine — Beckah Shae (2010) Revelation 21:4
The imagined disappearance of pain, paired with the repeated prospect of death ending, closely echoes Revelation’s description of the renewed creation. The song adapts that vision into an appeal for compassionate action rather than explicitly describing the biblical setting.
No More — Between Thieves (2025) Revelation 21:4
The repeated declaration that tears and crying have ended closely echoes the vision of God permanently ending sorrow and weeping in the new creation.
New Normal — Cade Thompson (2021) Revelation 21:4
The promise that God will ultimately remove every tear closely invokes Revelation’s vision of a restored creation without death, mourning, crying, or pain.
There Will Be One Day — Cheri Keaggy (2012) Revelation 21:4-5
The disappearance of tears and death directly adapts the promise in verse 4. The subsequent affirmation of God's renewal of everything closely follows the declaration in verse 5.
Think About There — Greater Vision (2022) Revelation 21:4
The promised heavenly end of tears, fear, and trouble closely reflects John's vision of the new creation, where God removes sorrow, death, and pain.
Jaybird — Big Daddy Weave (2025) Revelation 21:4
The phrase about flying to a place where no one dies aligns with the vision in Revelation where God wipes away every tear and there is no more death.
Exalt Him — Bluetree (2012) Revelation 21:4
The third verse's expectation that tears and pain will cease unmistakably evokes Revelation's promise that God will remove tears and that pain will no longer exist in the new creation.
Days Like These (TRUST U) — Hillsong UNITED (2022) Revelation 21:4-5
The repeated expectation that sorrow, pain, grief, and tears will disappear closely paraphrases John’s vision of God abolishing death and mourning while making all things new.
Death. Ascension. Resurrection — Impending Doom (2012) Revelation 21:4
The closing promise of a heavenly existence without pain or suffering closely adapts Revelation’s description of God’s renewed creation, where mourning, death, and pain are abolished.
Paradise — Isaac Carree (2013) Revelation 21:4
The repeated expectation that tears and pain will cease closely follows John's description of the new creation, where God removes suffering and death.
Father — Jeremy Camp (2019) Revelation 21:4
The chorus combines God personally removing His child's tears with the declaration of a father-child relationship, closely reflecting the linked promises in Revelation 21. The song applies these images to present comfort and restoration rather than explicitly describing the passage's new-creation setting.
Here With You — Jeremy Camp (2021) Revelation 21:4
The promised future without separation, death, pain, or tears closely parallels the vision of the new creation in which those former sorrows have passed away.
Heaven Just Got Better — John Waller (2011) Revelation 21:4
The disappearance of pain and God's wiping away of tears closely adapt this verse's description of life in the new creation. The song's additional reference to freedom from sickness extends that picture rather than reproducing a separate promise in this verse.
Praise and Honor — John Pape (2022) Revelation 21:4
The bridge closely paraphrases the new-creation promise that tears, mourning, and pain will be permanently abolished in God's presence.
Come Jesus Come - Live — Maverick City Music & Stephen McWhirter (2025) Revelation 21:4
The song expresses a longing for Jesus to return and heal every hurt, which resonates with the promise in Revelation that God will wipe away every tear and eliminate pain.
Song Of The Saints — Phil Wickham (2025) Revelation 21:4
The song references the promise of God wiping away every tear, which aligns with the vision of comfort and restoration found in Revelation 21:4.
Beauty Will Rise — Steven Curtis Chapman (2009) Revelation 21:4-5
God personally removing tears is immediately followed by his declaration of comprehensive renewal, closely adapting these consecutive verses in Revelation’s vision of the new creation.
Ancient Gates (Live) — Brooke Ligertwood (2022) Revelation 21:4
The description of everlasting divine light, the absence of night, and the removal of tears and sorrow closely condenses John's vision of the new Jerusalem.
Wedding Day — Casting Crowns (2011) Revelation 21:4
The final verse closely adapts the promise that God will wipe away every tear. Its insistence that these tears are the last makes the connection specifically about the permanent end of sorrow in the new creation.
One Bright Hour — Bebo Norman (2008) Revelation 21:4-5
The promise that God will personally remove tears closely echoes Revelation’s vision of the end of mourning. The accompanying promise of renewal reinforces the connection to God’s restoration of all things.
This Too Shall Pass — Jeremy Camp (2021) Revelation 21:4
The refrain closely echoes the promise that God will personally remove sorrow in the new creation. The bridge’s eternal horizon reinforces Revelation’s setting, where grief and death finally end.
Worthy of My Song — Phil Wickham (2022) Revelation 21:4
The anticipated face-to-face encounter with God and the removal of tears combine two distinctive images from Revelation’s vision of the new creation.
This Side Of Heaven — Seph Schlueter (2025) Revelation 21:4
The expectation of a future without tears or suffering closely paraphrases the promise of the new creation, where God removes mourning, pain, and death.
The Other Side — Colton Dixon (2017) Revelation 21:4
The bridge closely paraphrases the promise that sorrow, crying, pain, and death will be abolished in God's restored creation.
Shall Not Want — Elevation Worship (2021) Revelation 21:4
The final chorus directly invokes the new-creation promise that God will personally remove every tear from his people’s eyes.
A Few More Years — Buddy Greene (2010) Revelation 21:4
The heavenly destination combines two distinctive features of the New Jerusalem: the end of tears and the absence of any need for sunlight. Revelation describes divine glory replacing the sun’s illumination, rather than explicitly saying the sun no longer exists.
Life’s Railway to Heaven (radio transcription) — Patsy Cline (2025) Revelation 21:4
The reference to reaching a 'blissful shore' and the mention of 'forevermore' aligns with the promise of no more sorrow or pain found in Revelation 21:4, suggesting a vision of eternal peace.
Scars in Heaven — Casting Crowns (2021) Revelation 21:4-5
The promised absence of pain, tears, and brokenness, together with the renewal of what was old, closely paraphrases John's vision of God ending suffering and making all things new.
I'll Never Break The Heart Of God — Greater Vision (2022) Revelation 21:4
The song explicitly invokes the biblical promise that tears, death, and suffering will be absent from the new creation, including God's act of wiping tears away.
Don't Cry — JSP (2025) Revelation 21:4
The description of the departed person being free from pain in heaven closely reflects the promise that suffering, mourning, and pain will cease in God's renewed creation.
Grace Amazing — MercyMe (2022) Revelation 21:4
The promised removal of tears and the future sight of God’s face combine two specific images from Revelation’s vision of the new creation.
In the Vastness of the Universe — Raul Hurtado (2020) Revelation 21:4
The combined disappearance of death, crying, and pain closely follows Revelation's description of the renewed creation. The song invokes that recognizable cluster while questioning whether an existence without love would constitute genuine redemption.
Restless — Switchfoot (2011) Revelation 21:4
The closing vision of tears and pain ending closely adapts Revelation’s promise that God will wipe away tears and eliminate mourning and pain. Its placement alongside heavenly imagery makes the connection specific rather than merely thematic.
in a world — CHANGETHEWXRLD (2024) Revelation 21:4
The promise that God will remove every tear closely reproduces Revelation’s description of the new creation, where suffering and death are ended.
Be Honest — Forrest Frank (2023) Revelation 21:4
The vision of entering God's kingdom without sorrow or pain closely paraphrases the promise that suffering will cease in the new creation.
Steal Away to Jesus — Michelle Williams (2007) Revelation 21:4
The bridge closely paraphrases God's promise to wipe away tears and end mourning and crying. Its expectation of relief beyond earthly suffering specifically matches Revelation's vision of the new creation.
All Things New — Steven Curtis Chapman (2010) Revelation 21:4-5
The repeated declaration of God's universal renewal closely adapts the divine announcement in Revelation 21:5. The anticipation of the former order passing away reinforces the connection to the preceding verse and its promise of an end to suffering.
What Are They Doing in Heaven Today? — Buddy Greene (2010) Revelation 21:4
The chorus adapts Revelation’s description of sorrow ending and former troubles passing away. The verses’ emphasis on suffering and death reinforces this connection, although Revelation describes the new creation rather than simply the present state of departed believers.
Fight Anymore — For All Seasons (2018) Revelation 21:4
The bridge closely invokes the new-creation promise that God personally removes his people's tears and that pain and former suffering come to an end. The song explicitly places this complete restoration in eternity.
Singing With the Saints — Guy Penrod (2017) Revelation 21:4
The promised disappearance of pain and the absence of night closely follow John's description of the New Jerusalem, where suffering has ended and God's glory provides perpetual light.
Home at Last — Natalie Bergman (2021) Revelation 21:4
The song envisions the dead in a restored paradise characterized by the tree of life and the end of mourning. These combined details unmistakably evoke Revelation’s vision of the new creation.
No Quiero Fama — Alex Zurdo & Jonny L (2007) Revelation 21:4
Jonny L describes God's dwelling as a place without pain or crying, closely echoing Revelation's description of life in God's renewed creation. The additional evils mentioned in the song expand beyond the verse's wording.
The Magnetic Sky — Becoming the Archetype (2011) Revelation 21:4
The song directly reproduces Revelation’s declaration that death will cease to exist. Its surrounding portrayal of cosmic collapse giving way to eternal life reinforces the passage’s new-creation context.
Angels — Avalon (2009) Revelation 21:4
The promise that tears will be removed closely adapts Revelation’s description of God ending his people’s grief. The song places this consolation within its expectation of Christ’s coming reign.
How Sweet It Is — Chris Tomlin (2018) Revelation 21:4
The third verse combines Revelation’s new-creation promises that God will remove every tear and that His servants will behold Him directly.
Can't Believe — Da’ T.R.U.T.H. (2011) Revelation 21:4
The portrayal of God wiping away every tear closely adapts Revelation’s image of divine consolation. The song applies that future promise to the singer’s experience of comfort.
God is Good — Da’ T.R.U.T.H. (2011) Revelation 21:4
The promise that God will wipe away every tear closely adapts the distinctive consolation in Revelation's vision of the new creation. The song applies that image to present suffering rather than explicitly describing its original end-time setting.
How Long, O Lord - Live — Sovereign Grace Music (2017) Revelation 21:4
The interlude combines Revelation's promises that God will remove his people's tears and that his servants will behold him directly in the new creation.
Love Has Come — Mark Schultz (2011) Revelation 21:4
The promised future removal of every tear closely adapts Revelation's description of God ending mourning and pain. The song's focus on bereavement and the final end of grief reinforces this connection.
This Little Light of Mine — Mavis Staples (2007) Revelation 21:4
The closing sequence closely echoes Revelation’s paired promises that sorrow and pain will cease. The song incorporates this language into its vision of freedom and deliverance.
A Little More Time To Love — Steven Curtis Chapman (2013) Revelation 21:4-5
The promises that God will remove every tear and renew everything closely adapt the adjoining declarations in Revelation’s vision of the new creation.
God of Forever — Steven Curtis Chapman (2016) Revelation 21:4
The final verse draws on the New Jerusalem, where God removes every tear and divine glory supplies light without the sun.
Earth And Heaven Roar - Live — Bryan McCleery (2024) Revelation 21:4
The expectation of seeing God face to face and having every tear removed combines two specific images from Revelation's vision of eternal life in the new creation.
Beautiful — Phil Wickham (2007) Revelation 21:4
The envisioned eternal future without death or tears directly adapts Revelation's promise that God will remove tears and that death will cease.
The River (of Happiness) — Josh Turner (2018) Revelation 21:4
The promised afterlife is described as a place where crying, sorrow, and loneliness have ended, closely paraphrasing the new creation’s removal of tears, mourning, and pain.
I’ll Fly Away — Josiah Queen (2025) Revelation 21:4
The song expresses a longing for a place where pain and suffering are absent, which aligns with the promise in Revelation 21:4 that God will wipe away every tear and there will be no more death or mourning.
Hold On — Karen Clark Sheard (2010) Revelation 21:4
The assurance that God will personally wipe away every tear closely reproduces Revelation's promise of divine consolation. The song applies that future-facing promise to its present encouragement of grieving listeners.
Only the World — Mandisa (2007) Revelation 21:4
The bridge closely paraphrases the promise that God will wipe away every tear. Its contrast between present suffering and a future beyond death fits Revelation’s vision of sorrow ending in the new creation.
Heaven — Michelle Williams (2007) Revelation 21:4
The bridge’s promise that crying will disappear closely adapts the vision in which God removes tears and brings mourning, death, and pain to an end.
By and By — NEEDTOBREATHE (2023) Revelation 21:4
The promised destination where present sorrow permanently disappears closely reflects Revelation’s vision of the final renewal, in which mourning, pain, and death are no more.
Back to Life — Hillsong Young & Free (2013) Revelation 21:4
The third verse closely echoes the promise that God will wipe away every tear. The song applies this future promise of consolation to the worshipper’s present experience of divine care.
Farther Along — Ron Carter & Ricky Dillard & The Baylor Project (2026) Revelation 21:4
The theme of understanding and joy in the presence of Jesus, particularly in the context of future hope, resonates with the promise of God wiping away tears and bringing an end to suffering as found in Revelation 21:4.
Take Shelter — Keith & Kristyn Getty & Skye Peterson (2022) Revelation 21:4
The final verse depicts believers reaching their eternal home, passing within its secure gates, and leaving present suffering behind. This closely reflects Revelation's vision of the holy city, where former sorrow has ended and God's people dwell safely.
The Prayer — Pentatonix (2021) Revelation 21:4
The bridge envisions a future world in which pain and sorrow cease, closely reflecting Revelation's description of suffering, mourning, and death passing away in the new creation.
I Will Rise — Chris Tomlin (2008) Revelation 21:4
The chorus anticipates the abolition of sorrow and pain in God's presence, closely adapting Revelation's promise that mourning, death, and suffering will end.
Come to the River of Life — Don Moen (2024) Revelation 21:4
The river of life, its freely offered water and healing, and the absence of sorrow and night collectively draw on Revelation's vision of the new creation.
Terminal In The Sky — Ernie Haase & Signature Sound (2021) Revelation 21:4
The heavenly destination combines several distinctive images from the New Jerusalem: tears are removed, darkness and night are absent, and entry is through gates associated with pearls. The song changes the one wiping tears from God to angels, but the dependence on Revelation's imagery remains clear.
I Pray My Way Out of Trouble — Josh Turner (2018) Revelation 21:4
The image of the Lord personally removing tears closely reflects Revelation’s promise that God will wipe away every tear, though the song applies the image to present comfort rather than solely to the new creation.
Glory Hallelujah, I’m Gonna Fly Home Soon — Natalie Bergman (2021) Revelation 21:4
The promised end of tears in the heavenly home closely paraphrases John's vision of God ending mourning, pain, and death in the new creation.
When Christ Our Life Appears - Live — Sovereign Grace Music (2019) Revelation 21:4-5
The promised removal of tears and death, the renewal of all things, and the undoing of the curse closely combine distinctive features of Revelation’s vision of the new creation.
Paradise — Debbie McClendon (2013) Revelation 21:4
The description of paradise as free from suffering and pain closely reflects Revelation’s promise that pain and mourning will cease in God’s renewed creation.
Heaven — Dorothy Love Coates (2013) Revelation 21:4
The description of heaven as free from sorrow and trouble echoes Revelation’s promise that mourning and pain will cease. The connection concerns the removal of suffering, not the song’s additional imagery of family reunion or heavenly music.
Set Apart This Dream — Flyleaf (2009) Revelation 21:4
The imagined heavenly refuge is specifically characterized by the absence of crying and distress, echoing Revelation’s promise that mourning, crying, and pain will cease. The later distinction between joyful tears and suffering reinforces this image.
Home of Your Dreams — Gaither Vocal Band (2007) Revelation 21:4
The promised home’s elimination of pain, sadness, and loss closely adapts Revelation’s description of the new creation, where mourning and pain cease.
Wynter’s Promise — Kirk Franklin (2019) Revelation 21:4
The bridge closely echoes the promise that God will remove His people's tears and that pain will cease in the restored creation.
This World Is Not My Home — Ricky Skaggs (2009) Revelation 21:4
The second verse explicitly describes the heavenly destination as a place where dying has ceased, paraphrasing the promise that death will be no more in God’s new creation.
Death is Not the End — Aaron Shust (2019) Revelation 21:4-5
The image of God removing every tear while restoring what suffering has broken evokes the new-creation vision in which death, mourning, and pain are abolished and all things are made new.
Dancing in the Sky — Sam Barber (2023) Revelation 21:4
The song's hope that the deceased is now beyond pain closely reflects Revelation's promise that suffering, mourning, and death will be absent from God's renewed creation.
Get Ready — Forever Jones (2010) Revelation 21:4
The depiction of heaven as a place without sadness closely adapts the promise that mourning, crying, and pain will cease. The song's allowance for joyful tears is its own elaboration rather than a detail supplied by the verse.
Abre os Selos - Ao Vivo — Nívea Soares (2024) Revelation 21:4
The disappearance of death and pain together with the ending of night combines distinctive features of John's vision of the renewed creation.
Glory Hallelujah — TAYA (2022) Revelation 21:4
The bridge combines Revelation’s new-creation promises that sorrow and tears will end and that God’s servants will behold him directly. Its future communal setting makes the correspondence specifically eschatological rather than a general hope for emotional recovery.
See You Soon — Cade Thompson (2023) Revelation 21:4-5
The song’s vision of heaven combines the removal of every tear with God’s renewal of all things, closely paraphrasing John’s vision of the new creation. Its language of healing and the end of sorrow also reflects the passage’s promise that death and pain will cease.
My Beloved — Crowder (2014) Revelation 21:4
The bridge's paired declarations that sorrow and pain will end closely reproduce the promises of Revelation's restored creation. The surrounding anticipation of eternal life with God reinforces this specific connection.
The Prayer — Donnie McClurkin (2016) Revelation 21:4
The communal prayer envisions a future in which pain and sorrow cease and human brokenness is healed, closely paralleling Revelation’s vision of God ending mourning, suffering, and pain.
Blanket of Ghosts — Dustin Kensrue (2007) Revelation 21:4
The bridge's expectation of tears being wiped away in life beyond death closely adapts Revelation's promise of divine comfort. The surrounding longing for final restoration supports this passage's vision of suffering brought to an end.
Going Home — Aaron Neville (2014) Revelation 21:4
The assurance that pain will cease in the life beyond death closely adapts Revelation’s promise that pain and sorrow will be absent from God’s renewed creation.
This Little Light of Mine — Addison Road (2010) Revelation 21:4
The closing verse closely echoes Revelation’s promise that pain will cease in God’s restored creation. Its placement alongside the anticipation of Jesus’ presence makes this a specific eschatological reference rather than general encouragement.
Heaven Changes Everything — Big Daddy Weave (2023) Revelation 21:4-5
The linked images of tears, death losing its finality, and broken things being restored evoke John’s vision of the new creation, where sorrow and death pass away and God makes all things new.
Just Love — Brian Courtney Wilson (2009) Revelation 21:4
The promise of someone removing every tear closely adapts Revelation’s description of God comforting his people. The song transfers that image to the congregation’s tangible care rather than depicting the future new creation.
No Death — 11th Hour (2014) Revelation 21:4
The repeated declaration that death will be absent from God's eternal dwelling closely adapts this verse's promise that death will cease. The explicit appeal to John's Revelation confirms the source.
Sunday Sermons — Anne Wilson (2022) Revelation 21:5
The declaration that God makes everything new closely echoes the enthroned Christ’s promise of comprehensive renewal in Revelation.
All Things New — Andrew Peterson (2008) Revelation 21:5
The central refrain closely adapts the enthroned speaker's declaration of universal renewal. The bridge's movement from original goodness through brokenness to future redemption reinforces the passage's cosmic scope.
Across the Earth — Hillsong Worship (2008) Revelation 21:5
The chorus closely adapts the enthroned God's declaration of comprehensive renewal. The song presents that renewal as an act of divine grace.
Restart — Newsboys (2013) Revelation 21:5
The bridge closely adapts God's declaration from the throne that he is renewing all things. The song applies this comprehensive promise of renewal to the narrator's personal transformation.
Lay Down My Life — Sidewalk Prophets (2009) Revelation 21:5
The chorus’s promise of comprehensive renewal closely adapts the divine declaration in Revelation. The song applies that language to the transforming significance of Christ’s sacrifice rather than depicting Revelation’s heavenly scene.
Desert Father — Josh Garrels (2008) Revelation 21:5
The first chorus closely adapts the enthroned God’s declaration of universal renewal. Its expansive attention to creation supports Revelation’s cosmic renewal rather than merely an individual’s transformation.
All Things New — Sean Feucht (2009) Revelation 21:5
The central refrain closely adapts the declaration of the one seated on the throne in Revelation 21:5 concerning the renewal of everything. The song turns that declaration into direct worship addressed to God.
Carry On — John Schlitt (2008) Revelation 21:5
The closing anticipation of universal renewal closely adapts the enthroned God's declaration that he is making all things new.
Again and Again — Jason Gray (2020) Revelation 21:5
The declaration that God is making all things new closely echoes the enthroned God's promise in Revelation's vision of renewed creation.
I Am New (Extended Acoustic Version) — Jason Gray (2009) Revelation 21:5
The bridge closely adapts the enthroned God's declaration that he is renewing all things, applying that cosmic promise to personal transformation.
Not Finished Yet — Chris Renzema (2020) Revelation 21:5
The bridge directly invokes the declaration of the enthroned God in Revelation that creation is being renewed. Its placement after images of rubble and ruin also aligns with the passage's vision of restoration after the former order has passed away.
Break Your Knees — Flyleaf (2009) Revelation 21:5
The song combines Revelation's declaration of universal renewal with Christ's title expressing his identity as the beginning and endpoint of history. These distinctive verbal references ground its promise that suffering will not determine the listener's final identity.
All Things New — Big Daddy Weave (2019) Revelation 21:5
The central refrain closely reproduces God's declaration in Revelation that he renews the whole created order. The song applies that promise of new creation to personal healing and restoration.
I'd Never Know — Hawk Nelson (2018) Revelation 21:5
The expectation that God will renew everything closely echoes the declaration from the throne that God is making all things new.
Moving Forward — Hezekiah Walker (2008) Revelation 21:5
The repeated attribution of comprehensive renewal to God closely adapts the declaration of the enthroned speaker in Revelation. The song applies that declaration to personal transformation rather than describing the passage's cosmic setting.
Medley: Hosanna / Moving Forward / Where Else Can I Go — Israel & New Breed (2012) Revelation 21:5
The renewal section closely adapts the enthroned speaker’s declaration of universal renewal, changing it into a direct address to Jesus.
Different Story — Jon Thurlow (2017) Revelation 21:5
The bridge closely echoes God's declaration that he is making all things new, applying that promise specifically to the speaker's inward renewal.
The Redeemer — Sanctus Real (2011) Revelation 21:5
The repeated affirmation of God's power to renew anything closely adapts the enthroned God's declaration that he is making all things new. The song applies that promise of renewal to personal brokenness and disappointed hopes.
Even So Come — Passion, Chris Tomlin (2015) Revelation 21:5
The third verse's declaration of universal renewal closely condenses the enthroned speaker's promise to make everything new. The explicitly Revelation-shaped context supports this connection rather than a general theme of personal renewal.
You Will Make All Things New — Sovereign Grace Music (2026) Revelation 21:5
The repeated assertion that Jesus will make all things new resonates with the declaration in Revelation that God will make all things new, emphasizing the theme of renewal and hope in the face of despair.
Heroes — Essential Worship (2017) Revelation 21:5
The bridge closely restates the declaration of the enthroned God in Revelation's vision of final cosmic renewal.
Unashamed — Building 429 (2015) Revelation 21:5
The first verse closely adapts the enthroned God's declaration that he renews all things, applying that promise to the singer's experience of restoration.
Believe — Hillsong Worship (2010) Revelation 21:5
The song directly adapts the enthroned God's declaration that he renews everything, changing the declaration into an address to God.
Heaven's Well - Live — Grace City & Chase Wagner (2019) Revelation 21:5
The declaration that God is renewing everything closely paraphrases the enthroned Christ’s announcement of universal restoration in Revelation.
Wait Upon the Lord (Spontaneous) - Live — Leeland (2019) Revelation 21:5
The declaration of comprehensive renewal unmistakably echoes the enthroned One’s promise in Revelation, though the song emphasizes its present activity.
Come Through - Live — Kim Walker‐Smith (2020) Revelation 21:5
The closing interlude directly invokes Revelation's declaration that God renews all things, applying the promise of final cosmic renewal to personal redemption.
The Gospel — Elevation Worship (2011) Revelation 21:5
The repeated declaration of God's renewal of everything closely adapts the announcement made by the one seated on the throne. The address applies that language of comprehensive renewal to the listener's new life in Christ.
All-Consuming Fire (Live) — Leeland (2014) Revelation 21:5
The declaration of God renewing everything closely adapts the enthroned speaker’s announcement in Revelation. The song applies that promise of renewal to personal transformation.
Someday Soon — Ricky Skaggs (2010) Revelation 21:5
The chorus closely paraphrases God's declaration that he is making all things new, placing that renewal within the song's expectation of being with God.
Moving Forward — Israel & New Breed (2021) Revelation 21:5
The refrain closely restates God's declaration that he renews all things, placing divine renewal at the center of the song.
I Am — Kirk Franklin (2011) Revelation 21:5
The song reproduces the distinctive declaration of divine renewal made by the one seated on the throne, applying it to the singer's ongoing restoration.
Hello, My Name Is — Matthew West (2012) Revelation 21:5
The third verse closely adapts the enthroned God's declaration of universal renewal, applying that promise to the singer's transformed life.
NewBreed Anthem — Israel & New Breed (2022) Revelation 21:5-6
The song combines God's renewal of all things with the title Alpha and Omega, two closely linked declarations in Revelation's vision of final restoration.
Hello, My Name Is — Capitol Kids! (2014) Revelation 21:5
The verse identifies God through a close adaptation of the enthroned speaker’s declaration of universal renewal. The song applies that declaration to the singer’s transformed life.
This Changes Everything — Brandon Heath (2022) Revelation 21:5
The description of God continually renewing everything closely echoes the enthroned God's declaration of universal renewal in Revelation.
Back To The Garden — John Mark McMillan (2025) Revelation 21:5
The lyrics express a belief in God remaking old things and making the universe new, which resonates with the promise of renewal found in Revelation.
To Not Worship You — MercyMe (2022) Revelation 21:5
The chorus connects Christ’s victory over death with God’s declaration that he renews the whole created order.
Face to Face - Live — ICF Worship (2014) Revelation 21:5
The chorus closely reproduces the enthroned speaker's declaration of universal renewal, adapting it into direct address. Its setting of anticipated encounter with God reinforces the connection to Revelation's final vision.
God and God Alone — Aaron Williams (2025) Revelation 21:5
The bridge reproduces Revelation's divine promise of universal renewal, fitting the surrounding expectation that suffering will end.
Beautiful Jesus — Passion (2022) Revelation 21:5
The request to return to a state in which everything is new echoes Christ's declaration of universal renewal in Revelation. The song applies that newness personally as a desire for restored spiritual life.
Breaking Through — Bethel Music, Jeremy Riddle (2013) Revelation 21:5
The chorus closely adapts the enthroned God’s declaration of universal renewal, presenting that renewal as the work of divine love.
All Things New — Sidewalk Prophets (2009) Revelation 21:5
The repeated declaration of God's comprehensive renewal closely adapts the announcement made by the one seated on the throne. The song applies that promise of renewal to personal forgiveness and restoration.
Never Will — Life.Church Worship (2020) Revelation 21:5
The song directly invokes God's declaration that he is renewing all things, placing present suffering within Revelation's promise of final restoration.
All Things New — Hillsong Worship (2014) Revelation 21:5
The central declaration closely reproduces God's announcement of universal renewal from the throne, adapting it into direct address.
All That Matters — Colton Dixon (2017) Revelation 21:5
The chorus attributes to God the comprehensive renewal announced by the enthroned One in John's vision of the new creation.
Moving Forward — Jessica Reedy (2011) Revelation 21:5
The repeated declaration of God's comprehensive renewing work closely adapts the proclamation made by the enthroned God in Revelation. The song applies that declaration to personal restoration.
It’s Not Over (When God Is in It) — Israel & New Breed (2012) Revelation 21:5
The repeated declaration of divine renewal closely reproduces the proclamation of the enthroned God in Revelation. The song applies this wording to present circumstances rather than describing the passage’s full vision of the renewed creation.
God of the Rescue — Fellowship Creative (2014) Revelation 21:5
The bridge closely adapts the enthroned God’s declaration of universal renewal, presenting it as a direct affirmation addressed to him.
All Things New — Elevation Worship (2011) Revelation 21:5
The song’s central declaration closely reproduces God’s announcement in Revelation that he is renewing the whole created order.
Blank Canvas — Jordan Feliz (2018) Revelation 21:5
The chorus directly invokes God's declaration from the heavenly throne that he is renewing everything. The song applies that promised divine renewal to lives marked by failure and shame.
Where You Begin — Mandisa (2013) Revelation 21:5
The bridge directly adapts the declaration in Revelation that the one seated on the throne makes everything new, addressing that work of renewal to Jesus.
Reborn — Avalon (2009) Revelation 21:5
The affirmation of God's ability to renew everything closely adapts the declaration of the enthroned God in Revelation. The song applies that comprehensive renewal to the speaker's transformed inner life.
I Just Really Love You - Live — Red Rocks Worship (2019) Revelation 21:5
The song adopts Revelation’s declaration that God is renewing everything, presenting divine restoration as already underway.
Sing Hallelujah — Steven Curtis Chapman (2011) Revelation 21:5
The opening closely adapts God's declaration of comprehensive renewal. The surrounding imagery of darkness giving way to a renewed world reinforces this verbal connection without explicitly retelling Revelation's new-creation vision.
Happy New Year — Steven Curtis Chapman (2012) Revelation 21:5
The outro closely reproduces the enthroned God's declaration of universal renewal in Revelation 21:5. This explicit reference grounds the song's New Year hope in God's promised renewal of creation.
New Every Morning - Live — Covenant Worship & David Binion & Joshua Dufrene (2014) Revelation 21:5
The bridge directly adapts the enthroned God's declaration of universal renewal, changing the biblical first-person declaration into an address to God.
All Things New — Travis Greene (2019) Revelation 21:5
The divine first-person declaration of making all things new directly reproduces the throne-room promise where God announces universal renewal, repeated as the song's central refrain.
Who Is This Love Amazing — Chris McClarney (2010) Revelation 21:5
The song's description of God renewing everything closely adapts the declaration made by the one seated on the throne. It applies that promise to the worshipper's experience without retelling the surrounding vision.
God & Prozac — Chris Renzema (2023) Revelation 21:5
The song invokes God's promise of universal renewal using the distinctive wording of the one seated on the throne in Revelation.
Finish What You Started — Fellowship Creative (2013) Revelation 21:6
The song applies to God the paired temporal title used by the enthroned speaker in Revelation. This directly echoes the divine self-identification that accompanies the proclamation of completed renewal.
Sanctuary/Alpha & Omega/Total Praise — Israel & New Breed (2021) Revelation 21:6
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.
Alpha And Omega (Live) — Bethel Music, Peter Mattis, Sarah Sperber (2024) Revelation 21:6
The song uses Revelation's distinctive divine title identifying God as the first and the last, emphasizing his eternal existence and sovereignty.
Feeling Low — Will Reagan & United Pursuit (2017) Revelation 21:6
The recurring life-giving water imagery closely matches Revelation’s fountain, river, and freely offered water of life. The song uses this image for divine restoration amid grief and spiritual collapse.
Alfa e Ômega - Ao Vivo — fhop music (2025) Revelation 21:6
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.
The Curse — Becoming the Archetype (2022) Revelation 21:6
The life-giving water brought into a cursed, dying world closely evokes Revelation's water of life, which flows from God in the restored creation where the curse is removed. The song reverses that vision by depicting humanity carelessly rejecting the offered source of restoration.
Chapter and Verse — Bryson Gray (2021) Revelation 21:8
The explicit citation is accompanied by a summary of the final punishment awaiting the persistently wicked.
Loco! — Bryson Gray (2021) Revelation 21:8
The warning that the unbelieving face the lake of fire draws specifically on Revelation's list of those assigned to the fiery lake.
Salvation — Bryson Gray (2021) Revelation 21:8
The warning that unbelievers face the lake of fire uses Revelation’s specific image of final judgment.
Altar — Chaotic Resemblance (2022) Revelation 21:9
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.
Scars in the Hands of Jesus — Ernie Haase & Signature Sound (2013) Revelation 21:12
The pearl gates and angels stationed at the heavenly entrance draw on John's description of the New Jerusalem. Revelation places angels at the gates but does not say that they open them, as the song imagines.
Twelve Gates (reprise) — Buddy Greene (2010) Revelation 21:12
The city's twelve entrances unmistakably identify the New Jerusalem in John's vision. Revelation 21:12 describes its twelve gates, bearing the names of Israel's twelve tribes.
O What a Beautiful City — Joan Baez (2012) Revelation 21:12-13
The song's description of a heavenly city with twelve entrances, arranged three on each of its four sides, closely reproduces the architecture of the New Jerusalem in John's vision.
Going Home — Greater Vision (2011) Revelation 21:18-21
The description of a heavenly dwelling adorned with precious jewels draws on the New Jerusalem’s gemstone foundations and pearl gates. The song applies the city’s splendor to the believer’s anticipated home.
Only You Lord, Only You — 11th Hour (2024) Revelation 21:18-21
The combination of jasper construction, splendid gates, and a golden street unmistakably depicts John’s vision of the New Jerusalem.
Gospel Plow — Bob Dylan (2010) Revelation 21:21
The description of golden streets in heaven unmistakably evokes the New Jerusalem, whose street is described as pure gold. The spiritual renders this specific apocalyptic image as a promise of the heavenly destination.
Everybody Knows My Name — Bride (2013) Revelation 21:21
The narrator contrasts famous earthly cities with the golden street of the New Jerusalem. This distinctive image comes from Revelation's description of the holy city.
Mansions — Anne Wilson (2022) Revelation 21:21
The description of heaven’s streets as gold draws on John’s vision of the New Jerusalem, whose principal street is made of pure gold.
When We All Get to Heaven — Brian Free & Assurance (2009) Revelation 21:21
The song's golden streets unmistakably draw on the description of the New Jerusalem, whose street is made of pure gold.
Dirt Roads In Heaven — Anne Wilson (2024) Revelation 21:21
The song engages the New Jerusalem's distinctive golden-street imagery, contrasting that biblical vision with its imagined dirt roads in heaven.
On a Journey — Greater Vision (2011) Revelation 21:21
The descriptions of golden streets and pearl gates directly draw on John's vision of the New Jerusalem. This verse supplies both distinctive architectural images.
Chariot — Hillsong UNITED (2022) Revelation 21:21-25
The destination where darkness and night are absent and divine glory illuminates the streets closely reflects John's vision of the New Jerusalem, whose streets are radiant and which needs no created light because of God's glory.
The Epilogue (For Me) — Da’ T.R.U.T.H. (2018) Revelation 21:21
The anticipated heavenly future featuring streets of gold draws specifically on John's vision of the New Jerusalem.
Longing for Home — Ernie Haase & Signature Sound (2018) Revelation 21:21
The description of the eternal home through golden streets directly invokes John's vision of the New Jerusalem, whose main street is made of pure gold.
Streets of Gold — NEEDTOBREATHE (2007) Revelation 21:21
The song's central image of a golden roadway unmistakably invokes the description of the New Jerusalem's street made of pure gold. The singer uses this biblical setting to envision reunion with a deceased loved one.
Forever Home — Chris Tomlin (2020) Revelation 21:21
The transformation from an ordinary gravel road to golden streets unmistakably invokes John’s description of the New Jerusalem, whose street is made of pure gold.
I’m Gonna Walk Dem Golden Stairs — Elvis Presley (2014) Revelation 21:21
The heavenly gates made of pearl directly evoke the description of the New Jerusalem. The song’s golden stairway extends this imagery, although the passage describes a golden street rather than stairs.
Heaven On My Mind — TobyMac, Forrest Frank (2025) Revelation 21:21
The song's imagery of 'golden streets' directly evokes the description of the New Jerusalem in Revelation, where streets are made of gold, symbolizing the beauty and glory of Heaven.
Upside Down Kingdom — As I Lay Dying (2010) Revelation 21:21
The song invokes the New Jerusalem’s street of pure gold, then challenges reducing the promised kingdom to heavenly luxury rather than something believers can represent in the present.
Christmas in Heaven — Scotty McCreery (2012) Revelation 21:21
The imagined golden heavenly streets draw on the description of the New Jerusalem’s street as pure gold. The snowfall is the singer’s imaginative addition, not a biblical detail.
Letters To Heaven — 11th Hour (2021) Revelation 21:21
The envisioned heavenly city uses Revelation's distinctive image of a roadway made from pure gold.
Outskirts of Heaven (feat. Craig Campbell) — Warren Zeiders & Craig Campbell (2021) Revelation 21:21
The description of heaven using gates made of pearl and streets of gold directly draws on John's vision of the New Jerusalem.
Knowing what i know about heaven — Guy Penrod (2010) Revelation 21:21
The description of golden streets directly evokes the pure-gold street of the New Jerusalem in John's vision.
I WILL BE WITH YOU ALWAYS — Reverend Kristin Michael Hayter (2023) Revelation 21:21
The heavenly vision combines pearls with a golden street, distinctive details from Revelation’s description of the New Jerusalem.
Songs About Whiskey — Anne Wilson (2024) Revelation 21:21
The golden street used to represent the singer’s heavenly destination comes from John’s vision of the New Jerusalem.
Paradise — Jeremy Camp (2013) Revelation 21:21
The imagined golden streets directly evoke the New Jerusalem, whose street John describes as pure gold.
See That My Grave Is Kept Clean — Mavis Staples (2015) Revelation 21:21
The description of the heavenly destination's golden streets unmistakably draws on John's vision of the New Jerusalem, whose street is made of pure gold.
Home Someday — Donnie McClurkin (2009) Revelation 21:21
The song describes heaven with pearl-built entrances and a golden roadway, unmistakably invoking the specific architecture of the New Jerusalem in John's vision.
FATHER’S HOUSE — Forrest Frank (2025) Revelation 21:21
The song references the imagery of streets made of gold, which is a biblical image associated with the New Jerusalem in Revelation, symbolizing beauty and divine splendor.
Tell Me Mirror — I Am Empire (2013) Revelation 21:21-25
The bridge invokes pearl gates standing open, drawing on the description of the New Jerusalem’s gates made of pearls and never shut. The song uses this distinctive image as an assurance of ultimate welcome.
I Was There — Josh Turner (2012) Revelation 21:21
The depiction of the deceased grandfather welcoming his wife into a heavenly city with golden streets draws on Revelation’s description of the New Jerusalem. The family reunion is the song’s imaginative addition, not a detail supplied by the passage.
I Know — Kings Kaleidoscope (2014) Revelation 21:21
The imagined golden streets directly evoke the description of the New Jerusalem, whose street is made of pure gold. The song presents this distinctive biblical image as the singer’s future destination.
I Thank God — Housefires, JWLKRS Worship, Ryan Ellis, Blake Wiggins (2023) Revelation 21:21
The anticipated golden streets draw on John's description of the New Jerusalem and locate the singer's testimony within the hope of eternal life.
Child of the King — Mike Teezy (2022) Revelation 21:21
The anticipated golden road after death evokes John's vision of the New Jerusalem, whose street is made of pure gold.
Stand by Me (reprise) — Ernie Haase & Signature Sound (2012) Revelation 21:21
The anticipated entrance through gates made of pearl directly evokes the New Jerusalem, whose twelve gates are each formed from a single pearl.
As It Is in Heaven — Corey Voss & Michael Farren & Alisa Turner (2018) Revelation 21:23-25
The description of a realm without darkness, illuminated in connection with God’s revealed glory, closely reflects Revelation’s vision of the new creation, where divine glory supplies the light and night is absent.
Do Lord — Glass Harp (2011) Revelation 21:23
The heavenly dwelling whose brightness surpasses the sun evokes the New Jerusalem, where God's glory supplies illumination and the sun is no longer needed.
Keep Silent — Aaron Shust (2014) Revelation 21:23
The bridge closely adapts the vision of the holy city needing neither sunlight nor moonlight because God's glory illuminates it and the Lamb supplies its light.
A Witch's Invitation — Carman (2017) Revelation 21:27
The explicit image of a person’s name being recorded in the Lamb’s Book of Life comes from Revelation’s register of those who belong to the Lamb and enter the holy city.
This Train Is Bound for Glory — Johnny Cash (2012) Revelation 21:27
The heavenly destination's exclusion of liars, coupled with its insistence on purity, closely echoes the New Jerusalem's exclusion of anything unclean and anyone practicing falsehood. The train translates that restricted entrance into a gospel transportation image.
He’s a Rebel — Donna Summer (2023) Revelation 21:27
The song invokes Revelation’s image of the Lamb’s book of life, the register of those who belong to the Lamb and may enter the holy city.
NEW LEAF (Turning the Page) — Mike Teezy (2024) Revelation 21:27
The claim that the singer's name is recorded in a divine book evokes the Lamb's book of life, which contains the names of those belonging to God's redeemed people.

Revelation 21 (King James Version)

¹ And I saw a new heaven and a new earth: for the first heaven and the first earth were passed away; and there was no more sea.

² And I John saw the holy city, new Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband.

³ And I heard a great voice out of heaven saying, Behold, the tabernacle of God is with men, and he will dwell with them, and they shall be his people, and God himself shall be with them, and be their God.

⁴ And God shall wipe away all tears from their eyes; and there shall be no more death, neither sorrow, nor crying, neither shall there be any more pain: for the former things are passed away.

⁵ And he that sat upon the throne said, Behold, I make all things new. And he said unto me, Write: for these words are true and faithful.

⁶ And he said unto me, It is done. I am Alpha and Omega, the beginning and the end. I will give unto him that is athirst of the fountain of the water of life freely.

⁷ He that overcometh shall inherit all things; and I will be his God, and he shall be my son.

⁸ But the fearful, and unbelieving, and the abominable, and murderers, and whoremongers, and sorcerers, and idolaters, and all liars, shall have their part in the lake which burneth with fire and brimstone: which is the second death.

⁹ And there came unto me one of the seven angels which had the seven vials full of the seven last plagues, and talked with me, saying, Come hither, I will shew thee the bride, the Lamb’s wife.

¹⁰ And he carried me away in the spirit to a great and high mountain, and shewed me that great city, the holy Jerusalem, descending out of heaven from God,

¹¹ Having the glory of God: and her light was like unto a stone most precious, even like a jasper stone, clear as crystal;

¹² And had a wall great and high, and had twelve gates, and at the gates twelve angels, and names written thereon, which are the names of the twelve tribes of the children of Israel:

¹³ On the east three gates; on the north three gates; on the south three gates; and on the west three gates.

¹⁴ And the wall of the city had twelve foundations, and in them the names of the twelve apostles of the Lamb.

¹⁵ And he that talked with me had a golden reed to measure the city, and the gates thereof, and the wall thereof.

¹⁶ And the city lieth foursquare, and the length is as large as the breadth: and he measured the city with the reed, twelve thousand furlongs. The length and the breadth and the height of it are equal.

¹⁷ And he measured the wall thereof, an hundred and forty and four cubits, according to the measure of a man, that is, of the angel.

¹⁸ And the building of the wall of it was of jasper: and the city was pure gold, like unto clear glass.

¹⁹ And the foundations of the wall of the city were garnished with all manner of precious stones. The first foundation was jasper; the second, sapphire; the third, a chalcedony; the fourth, an emerald;

²⁰ The fifth, sardonyx; the sixth, sardius; the seventh, chrysolyte; the eighth, beryl; the ninth, a topaz; the tenth, a chrysoprasus; the eleventh, a jacinth; the twelfth, an amethyst.

²¹ And the twelve gates were twelve pearls: every several gate was of one pearl: and the street of the city was pure gold, as it were transparent glass.

²² And I saw no temple therein: for the Lord God Almighty and the Lamb are the temple of it.

²³ And the city had no need of the sun, neither of the moon, to shine in it: for the glory of God did lighten it, and the Lamb is the light thereof.

²⁴ And the nations of them which are saved shall walk in the light of it: and the kings of the earth do bring their glory and honour into it.

²⁵ And the gates of it shall not be shut at all by day: for there shall be no night there.

²⁶ And they shall bring the glory and honour of the nations into it.

²⁷ And there shall in no wise enter into it any thing that defileth, neither whatsoever worketh abomination, or maketh a lie: but they which are written in the Lamb’s book of life.