Revelation 22

Which worship songs are based on Revelation 22?

Critical Emergency — Group 1 Crew (2008) Revelation 22:1
The bridge invokes a life-giving river as an image of divine renewal, echoing Revelation’s river of the water of life flowing from the throne of God and the Lamb.
Far Celestial Shore — Mavis Staples (2013) Revelation 22:1-2
The heavenly landscape combines crystal-clear water with abundantly fruit-bearing trees, closely echoing Revelation’s river of the water of life and the tree of life. This distinctive pairing supports a specific biblical allusion rather than merely a general theme of heavenly abundance.
Flow Like a River — Israel & New Breed (2022) Revelation 22:1-2
The combined imagery of a life-giving river and healing extending to a nation closely evokes Revelation’s river of life and the healing of the nations. The song adapts this new-creation image into a prayer for present personal and national restoration.
Mercy — Cory Asbury (2009) Revelation 22:1
The river flowing from God's throne closely matches the river of the water of life proceeding from the throne of God and the Lamb.
In Saecula Saeculorum — Raul Hurtado (2020) Revelation 22:1-5
The combined images of eternal life, life-giving fruit, a pure flowing source, and divine light closely resemble John's vision of the river and tree of life in the new creation, where God provides light forever.
Shekinah Glory — Nathaniel Bassey (2024) Revelation 22:1
The life-giving river proceeding from God's throne unmistakably evokes John's vision of the river of the water of life in the New Jerusalem.
Feeling Low — Will Reagan & United Pursuit (2017) Revelation 22:1
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.
Come to the River of Life — Don Moen (2024) Revelation 22:1-2
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.
Finally Home — Jeremy Camp (2015) Revelation 22:1
The river in God's heavenly presence recalls the river of the water of life flowing from God's throne. Swimming in it is the song's imaginative elaboration, not a detail supplied by the passage.
Let the River Flow — Donnie McClurkin (2009) Revelation 22:1
The song’s identification of its river with life-giving water echoes the river in John’s vision, which flows from the throne of God and the Lamb. This is a specific biblical image rather than a reference to the broader events of the vision.
The Curse — Becoming the Archetype (2022) Revelation 22:1-3
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.
Cascading River of Love — John Pape (2022) Revelation 22:1-2
The image of a powerful life-giving current proceeding from God’s throne directly recalls John’s vision of the river of the water of life flowing from the divine throne.
The River (of Happiness) — Josh Turner (2018) Revelation 22:1-3
The heavenly river associated with everlasting happiness evokes Revelation’s river of the water of life in the presence of God and the Lamb.
Refresh Me (Live) — Leeland (2014) Revelation 22:1
The bridge invokes a river flowing from God's throne, a distinctive image from John's vision of the river of the water of life. The song turns this image into a prayer for restoration.
Home at Last — Natalie Bergman (2021) Revelation 22:1-2
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.
Praise and Honor — John Pape (2022) Revelation 22:1
The river proceeding from God's throne unmistakably evokes John's vision of the water of life flowing from the throne of God and the Lamb.
River of Life (live) — Mac Powell (2022) Revelation 22:1-2
The song’s central image of a life-giving river associated with healing closely reflects Revelation’s river of the water of life and its healing provision.
Invitation Only — Stryper (2020) Revelation 22:1-2
The vision of an everlasting tree in a deathless realm strongly evokes the Tree of Life in the restored creation, where it stands beside the river flowing from God's throne.
Awaken Me — Khaya Mthethwa & Oasis Worship (2018) Revelation 22:1-2
Its portrayal of true life flowing from God’s throne closely evokes Revelation’s river of the water of life proceeding from the throne of God and the Lamb.
One Drink (Live) — Naomi Raine (2025) Revelation 22:1-5
The river proceeding from God’s throne, the tree of life, the disappearance of night, God as light, and the everlasting reign of the redeemed collectively paraphrase this vision of the new creation.
Whosoever Will May Come — 11th Hour (2021) Revelation 22:1
The central invitation closely follows Revelation’s call for anyone who is thirsty and willing to receive the water of life. The song reinforces the connection through its river-of-life imagery and repeated universal summons.
Ancient Love - Live — John Mark McMillan (2025) Revelation 22:2
The mention of 'Your living fruit from the tree of life' evokes the imagery of the tree of life found in Revelation, symbolizing eternal life and divine sustenance.
Our Testimony — Bridge Worship & Bryan Robison (2023) Revelation 22:2
The vision of God healing nations echoes Revelation's new-creation image of the nations receiving healing, fitting the surrounding appeal for universal restoration.
When — Kirk Franklin (2015) Revelation 22:3
The anticipated disappearance of every curse closely adapts Revelation's declaration that the curse will no longer exist in the restored creation.
There Is A Redeemer — Kathy Troccoli (2014) Revelation 22:3-5
The anticipated heavenly future combines seeing the divine face with enduring service to God. This closely follows Revelation's description of God's servants worshiping him, seeing his face, and sharing in an everlasting kingdom.
How Shall I Sing? - Live — Keith & Kristyn Getty (2017) Revelation 22:3-5
The departed saints beholding the Savior recalls the redeemed servants in the new creation seeing God's face and worshiping before His throne forever.
When Christ Our Life Appears - Live — Sovereign Grace Music (2019) Revelation 22:3
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.
How Sweet It Is — Chris Tomlin (2018) Revelation 22:4
The third verse combines Revelation’s new-creation promises that God will remove every tear and that His servants will behold Him directly.
Paradise — Debbie McClendon (2013) Revelation 22:4-5
The combination of seeing Jesus’ face and experiencing heavenly light strongly recalls the vision of God’s servants seeing his face and receiving light from him, with night abolished.
When We All Get to Heaven — Brian Free & Assurance (2009) Revelation 22:4
The anticipation of seeing Jesus directly in the heavenly city closely reflects the promise that God's servants will see his face. The surrounding imagery of the city's gates and golden streets supports this passage as the connection.
Jesus Loves Me — VeggieTales (2009) Revelation 22:4
The expectation of seeing Jesus’ face in the future heavenly home closely echoes Revelation’s promise that God’s servants will see his face.
Glory Hallelujah — TAYA (2022) Revelation 22:4
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.
How Long, O Lord - Live — Sovereign Grace Music (2017) Revelation 22:4
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.
Worthy of My Song — Phil Wickham (2022) Revelation 22:4
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.
Sublime - Ao Vivo — fhop music (2025) Revelation 22:4
The anticipated day of seeing the Beloved's face reflects Revelation's promise that God's servants will behold him directly in the consummated new creation.
Grace Amazing — MercyMe (2022) Revelation 22:4
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.
Grace So Glorious — Elevation Worship (2014) Revelation 22:4-5
The final verse pairs seeing the Redeemer's face with participating in an everlasting reign. That combination closely matches Revelation's concluding description of God's servants seeing his face and reigning forever.
Earth And Heaven Roar - Live — Bryan McCleery (2024) Revelation 22:4
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.
Keep Silent — Aaron Shust (2014) Revelation 22:4
The bridge anticipates believers directly seeing the divine face. Its surrounding imagery of divine illumination places this promise specifically within Revelation's closing vision.
Terminal In The Sky — Ernie Haase & Signature Sound (2021) Revelation 22:5
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.
Hello Out There — Johnny Cash (2024) Revelation 22:5
The promised thousand-year reign directly reflects Revelation 20, while the divine titles, morning-star imagery, and eternal world without night closely reflect Revelation 22.
Wedding Day — Casting Crowns (2011) Revelation 22:5
The closing declaration of believers’ everlasting reign closely adapts Revelation’s promise that God’s servants will reign eternally. The surrounding heavenly setting reinforces this specific reference.
As It Is in Heaven — Corey Voss & Michael Farren & Alisa Turner (2018) Revelation 22:5
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.
It Is No Secret (What God Can Do) — Elvis Presley (2014) Revelation 22:5
The pairing of night’s absence with illumination supplied by God closely adapts Revelation’s description of God lighting the lives of his servants. The song applies that imagery to present spiritual companionship.
Abre os Selos - Ao Vivo — Nívea Soares (2024) Revelation 22:5
The disappearance of death and pain together with the ending of night combines distinctive features of John's vision of the renewed creation.
Heaven — Michelle Williams (2007) Revelation 22:5
The bridge’s declaration that nighttime will cease closely reproduces Revelation’s description of the eternal city, where God supplies its light.
It Is No Secret — Jim Reeves (2013) Revelation 22:5
The pairing of night’s absence with illumination supplied by God echoes Revelation’s description of the eternal city. The song applies that image devotionally to present companionship rather than explicitly describing the future city.
Que Jesus Seja O Nome — Elevation Español, Maria Marçal (2026) Revelation 22:12-13
Jesus is presented as sovereign over the beginning and completion of history, with his promised return placed alongside that apocalyptic title.
É Ele — Drops INA (2024) Revelation 22:12
The repeated announcement that the powerful sovereign will come carrying his reward closely combines Isaiah’s image of the Lord’s powerful arrival with Christ’s promise at the close of Revelation.
Jesus Be The Name (feat. Tiffany Hudson) — Elevation Worship (2025) Revelation 22:12-13
The combination of Jesus as the first and last with the expectation of His imminent return closely reflects Revelation’s concluding declarations.
Así Será (Si Él Lo Dijo) — Elevation Español (2026) Revelation 22:12-13
The song applies Revelation’s divine title for the one who encompasses the beginning and end directly to Jesus, emphasizing his eternal sovereignty.
He Who Is To Come (Live From Passion 2024) — Kristian Stanfill & Passion (2024) Revelation 22:12
The closing petition closely reproduces Revelation’s final exchange: Christ announces that his coming is certain, and the Spirit, the bride, and the church answer with an appeal for his return.
Gospel Boogie (A Wonderful Time Up There) — Johnny Cash (2012) Revelation 22:12
The announcement of Christ’s return together with recompense according to each person’s deeds closely adapts this verse. The song’s explicit direction to read Revelation strengthens the identification.
I Am — Crystal Lewis (2011) Revelation 22:12-13
The adjacent declarations of divine primacy, finality, and imminent return reproduce the distinctive combination found in Jesus' closing announcement in Revelation.
Existe Uma Geração - Ao Vivo — Isaias Saad (2023) Revelation 22:12
The repeated announcement that Jesus is coming soon and will return echoes Revelation’s closing promise of Christ’s imminent coming.
Are You Ready? — Beckah Shae (2011) Revelation 22:12
The repeated announcement of Christ's imminent return reproduces his first-person promise at the close of Revelation. The surrounding summons to readiness reinforces this reference.
Alive — Hillsong Worship (2013) Revelation 22:13
The song applies two paired divine titles to Jesus, directly reproducing the identifying language of this verse.
Love Goes On — Hillsong Young & Free (2013) Revelation 22:13
The second verse directly uses Jesus’ self-designation in Revelation 22:13, identifying him as the one who encompasses both the origin and completion of all things. The song’s explicit focus on Jesus makes this passage the strongest match among similar declarations in Revelation.
God Gave Me a Song — Oslo Gospel Choir (2013) Revelation 22:13
The song combines the divine titles drawn from the first and last Greek letters with the declaration that he encompasses both the beginning and the end. This pairing directly matches the verse.
FINAL WORD (Now) — Sinach (2026) Revelation 22:13
The song applies Revelation’s first-and-last divine title to Jesus, presenting him as sovereign over the whole course of history.
Assurance — Building 429 (2018) Revelation 22:13
The divine title identifying God as the origin and conclusion of all things condenses Revelation's declaration of the Alpha and Omega, the first and the last.
Anointing — Jesus Culture (2018) Revelation 22:13
The description of God as both the starting point and completion of everything echoes Christ’s self-identification as the beginning and the end.
I Know My God — John Waller (2015) Revelation 22:13
The song uses the divine title identifying Jesus as encompassing both the origin and culmination of all things, directly matching one of the titles in this verse.
God of Forever — Steven Curtis Chapman (2016) Revelation 22:13
The opening description of God as first and last and as existing beyond beginning and end closely follows Christ's declaration of divine eternality in Revelation.
Word of God — Peyton Parrish (2025) Revelation 22:13
The pre-chorus reproduces Revelation’s three parallel titles declaring divine sovereignty over the whole span of history and existence.
The Gospel — Bizzle (2018) Revelation 22:13
Jesus is given Revelation's paired titles expressing his sovereignty over the beginning and completion of history.
Great Is the Lord Our God — Avalon (2020) Revelation 22:13
The bridge and final verse apply Revelation’s paired titles for the first and last Greek letters, together with its description of the speaker as the beginning and the end.
Light A Flame — Corey Mills (2015) Revelation 22:13
The song addresses its divine master using the distinctive title associated with the final Greek letter. In the song's Jesus-centered context, this points to Christ's identification as the beginning and the end in Revelation.
He Is — Crowder (2021) Revelation 22:13
The bridge reproduces Revelation’s paired divine titles identifying Christ as Alpha and Omega and as the beginning and end.
The Center of It All — Mac Powell (2021) Revelation 22:13
The repeated presentation of Christ as encompassing history’s beginning and ending echoes his identification as the Beginning and the End.
Love Divine — Rend Collective (2013) Revelation 22:13
The hymn addresses Jesus using Revelation's distinctive Greek-letter title, identifying him as the beginning and completion of all things.
Behold Him (feat. Kim Walker-Smith) — Paul Baloche & Kim Walker-Smith (2019) Revelation 22:13
The expanded chorus assigns Jesus Revelation's paired Greek-letter title, identifying him as sovereign over the beginning and end.
Thank You — Gregory Porter (2020) Revelation 22:13
The childhood testimony describes God as the defining beginning and end of Porter’s life, invoking Christ’s title as the Beginning and the End in Revelation.
I Am — Ginny Owens (2014) Revelation 22:13
The bridge closely reproduces the divine identification as first and last. Its surrounding assertions of authority over time reinforce the connection, though this identification also appears in Isaiah and elsewhere in Revelation.
How Great Is Our God — Worship Together (2012) Revelation 22:13
The song adopts the paired divine titles identifying Christ with both the origin and completion of all things. Its surrounding emphasis on sovereignty over time supports this direct textual connection.
1,000 Names — Phil Wickham (2021) Revelation 22:13
The title presenting Christ as both history's origin and conclusion directly uses Revelation's language for the eternal Lord.
How Great Is Our God (World Edition) — Chris Tomlin (2011) Revelation 22:13
The English verse repeats the divine title identifying Christ with both the starting point and completion of all things. Its surrounding emphasis on sovereignty over time reinforces the reference.
Glory In the Highest — Fellowship Creative (2014) Revelation 22:13
The opening uses the divine title identifying Jesus as both the starting point and completion of all things, directly echoing his self-description in Revelation.
Sanctuary/Alpha & Omega/Total Praise — Israel & New Breed (2021) Revelation 22:13
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.
1,000 Names (Acoustic) — Phil Wickham (2022) Revelation 22:13
The title describing God as history's beginning and end directly reproduces one of Revelation's divine designations.
The Time Bender — Becoming the Archetype (2012) Revelation 22:13
The divine speaker identifies himself with both the beginning and the ending, closely adapting Jesus’ declaration of encompassing all existence. The surrounding claims of authority over past and future reinforce this connection.
Future / Past — John Mark McMillan (2014) Revelation 22:13
The chorus and bridge together reproduce two paired divine titles found in this verse. Their combination makes this passage a more specific source than other biblical declarations of God's eternity.
Alpha And Omega (Live) — Bethel Music, Peter Mattis, Sarah Sperber (2024) Revelation 22:13
The song uses Revelation's distinctive divine title identifying God as the first and the last, emphasizing his eternal existence and sovereignty.
Lord and Friend — CeCe Winans (2024) Revelation 22:13
The bridge directly adopts Revelation’s paired designations for Christ’s identity as the origin and culmination of all things.
Death. Ascension. Resurrection — Impending Doom (2012) Revelation 22:13
The opening combines the divine alphabetic title with the declaration of encompassing both the beginning and the end, closely reproducing two identifying formulas from this verse.
I Want to Praise Him — 11th Hour (2017) Revelation 22:13
The song applies to Jesus Revelation's paired first-and-last designation and its image of the radiant star heralding the dawn.
No Other — Brian Courtney Wilson (2009) Revelation 22:13
Verse two identifies the divine companion by Christ’s title expressing sovereignty over both the origin and completion of all things. This closely adapts Jesus’ self-identification in Revelation and answers the singer’s anxiety about time.
Your Name Is God — Elevation Worship (2026) Revelation 22:13
The bridge directly uses Revelation's titles for Christ as the supreme King and Lord and as the Alpha and Omega.
What A Worthy Name — Passion & Chidima (2026) Revelation 22:13
The paired titles describing Christ as both the first and last and the beginning and end closely reproduce Revelation's divine self-designation.
Alfa e Ômega - Ao Vivo — fhop music (2025) Revelation 22:13
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.
Behold Him - Live — Citizens & Mission House & REVERE (2021) Revelation 22:13
The later chorus applies Revelation's paired first-and-last designation directly to Jesus, presenting him as the one who encompasses the whole course of history.
Who Are You — Carrie Underwood (2012) Revelation 22:13
The bridge adapts Christ's identification as both beginning and end into a personal declaration of devotion. The surrounding description of the addressee as a saving presence strengthens this connection, although the song also permits a romantic reading.
What a Savior — Laura Story (2011) Revelation 22:13
The song applies to Jesus the paired title identifying him with both the commencement and completion of all things. Its direct address to Jesus favors Revelation 22:13 over the parallel declaration in Revelation 21:6.
Pride & Prejudice — Jackie Hill Perry (2025) Revelation 22:13
The song applies Revelation’s divine title for the beginning and end to God while presenting Him as sovereign over death and humanity’s final destiny.
Leão de Judá — Julliany Souza (2025) Revelation 22:13
The song applies Revelation’s title for the one who stands at both boundaries of history to Christ, affirming his eternal supremacy.
Redemption in Motion — Kings Kaleidoscope (2014) Revelation 22:13
The song invokes the distinctive divine title formed from the first and last Greek letters. Its address to the crucified and risen Christ particularly fits Jesus’ self-identification in Revelation’s closing chapter.
Shweet — Trip Lee (2014) Revelation 22:13
The hook uses the divine title identifying the speaker in Revelation as both the beginning and endpoint of all things. This is a specific biblical designation, not merely a general assertion of God's greatness.
Say Amen — Mike Teezy (2024) Revelation 22:13
The paired divine titles Alpha and Omega reproduce the distinctive designation used by Christ in Revelation.
Across The Lands (Incarnation / Of the Father's Love Begotten) - Live — Keith & Kristyn Getty & Sing! (2019) Revelation 22:13
The first sung verse applies Revelation’s paired first-and-last titles to Christ and identifies him as the origin and goal of history.
The Same Jesus - Live — Matt Redman (2020) Revelation 22:13
The bridge uses Revelation's paired divine titles for the one who stands at both the origin and completion of history.
Break Your Knees — Flyleaf (2009) Revelation 22:13
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.
Award — Group 1 Crew (2014) Revelation 22:13
The second verse closely reproduces the divine title describing sovereignty over both the origin and culmination of all things. This is a specific scriptural designation, rather than merely general praise.
YOU ARE NOT HIM! — Christopher Syncere (2025) Revelation 22:13
The divine designation Alpha and Omega is directly invoked while the artist denies that this title belongs to himself.
Yeshua — Dunsin Oyekan (2024) Revelation 22:13
The song applies to Yeshua the self-designation used by Jesus in Revelation, identifying him as the one who encompasses the beginning and completion of all things.
Majestade - Ao Vivo — fhop music (2025) Revelation 22:13
The bridge directly uses Revelation's paired titles for Christ that identify him as the origin and culmination of all things.
Walk On Water — Family Force 5 (2021) Revelation 22:13
The bridge identifies God as encompassing both the origin and completion of all things, closely paraphrasing Christ’s self-description as the beginning and the end.
A Million Suns — Hillsong UNITED (2013) Revelation 22:13
The chorus directly uses Jesus’ self-designations from Revelation’s closing chapter, identifying his sovereignty over beginnings and endings and his identity through the celestial title in verse 16.
SO BE IT (feat. Tiffany Hudson & Chris Brown) - Live — Elevation Worship (2026) Revelation 22:13
The titles Alpha and Omega and first and last unmistakably invoke Christ's self-identification near the conclusion of Revelation.
Your Majesty — Aaron Shust (2011) Revelation 22:13
The opening applies Revelation’s paired titles of ultimate beginning and completion to Jesus. Their combination closely reproduces this verse’s self-description.
Command My Soul — ReFRESH Worship & Michael Perry Jr. & Diana Marie (2025) Revelation 22:13
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.
How Holy (Live) — UPPERROOM & Andre'a Alexis (2025) Revelation 22:13
The bridge closely reproduces Revelation’s declarations of divine eternity and Christ’s identity as the beginning and end, the ever-living one who overcame death.
Our God — Worship Together (2012) Revelation 22:13
The song applies the paired titles identifying the starting and concluding limits of all things to God. This directly echoes the divine self-identification in Revelation's closing chapter.
Schöpfer — BETHEL (2023) Revelation 22:13
The song applies Revelation’s paired divine titles and its language of absolute beginning and end directly to God, presenting him as existing before and beyond all created reality.
How Great Is Our God — Don Moen (2010) Revelation 22:13
The second verse uses the passage's distinctive divine title identifying the speaker with both the origin and completion of all things.
The Awakening — Becoming the Archetype (2022) Revelation 22:13
The divine speaker combines Daniel’s title for the eternally preexistent God with Revelation’s identification of God as sovereign over both the origin and consummation of history.
Visions — Jennifer Knapp (2008) Revelation 22:15
The placement of people described as dogs outside echoes Revelation's description of those excluded from the holy city. The surrounding expectation of heaven reinforces this specific reference.
Come People Of The Risen King - Live — Keith & Kristyn Getty (2013) Revelation 22:16
The opening verse addresses Christ using the celestial title Jesus gives himself at the conclusion of Revelation. This is a specific biblical designation, not merely general imagery of light.
Matchless — Aaron Shust (2009) Revelation 22:16
The pairing of Jesus' relationship to David with a celestial title directly recalls his self-identification near the close of Revelation.
Hail to the King — Don Moen (2009) Revelation 22:16
The opening addresses Jesus with the distinctive celestial title he gives himself at the conclusion of Revelation.
This Is My Beloved — Matt Gilman (2013) Revelation 22:16
The celestial title given to Jesus directly reproduces his self-identification at the conclusion of Revelation.
High and Lifted Up — Hillsong Worship (2008) Revelation 22:16
The second verse directly uses the distinctive celestial title Jesus gives himself at the close of Revelation.
King Jesus - Live — Jesus Culture (2023) Revelation 22:16
The song applies Revelation’s distinctive title for the exalted Jesus as the bright morning star.
Overflow — Neal Morse (2020) Revelation 22:16
The song applies the morning-star image to the radiant Christ whom Stephen encounters. Revelation 22:16 explicitly identifies Jesus with that title.
All We Ever Needed — Rush of Fools (2007) Revelation 22:16
The comparison of the divine addressee to a star heralding daylight echoes Jesus’ self-identification at the close of Revelation. The song develops that image into the displacement of spiritual darkness.
Older Than Our God (Forever Young) — Chris Renzema (2020) Revelation 22:16
The song applies Revelation’s distinctive final title for Jesus as the radiant star heralding the dawn. This image presents Christ as enduring light and the announcement that darkness is ending.
Light Up the Sky — The Afters (2018) Revelation 22:16
The description of God as the bright morning sun closely adapts Revelation’s title for Jesus as the bright morning star, using dawn imagery to signify divine presence and hope.
God Is My Everything — Chicago Mass Choir (2007) Revelation 22:16
The leader uses the distinctive celestial title Jesus gives himself in Revelation’s closing chapter. The wording identifies this passage specifically, rather than merely invoking light or hope.
Alleluia — Jesus Culture (2014) Revelation 22:16
The song addresses Jesus using the distinctive celestial title he gives himself at the close of Revelation.
Righteous One — Nathaniel Bassey & Victoria Orenze (2021) Revelation 22:16
The designation of Jesus as the bright morning star directly invokes Christ’s self-identification near the conclusion of Revelation.
Lift Up Your Eyes — Danny Gokey (2015) Revelation 22:16
The second verse applies the celestial title Jesus gives himself at the close of Revelation to the newborn child. This is a specific biblical identification of Jesus, not merely an image of approaching daylight.
Worthy Of Affection — Shane & Shane (2010) Revelation 22:16
The song applies to Jesus the distinctive celestial title he gives himself at the conclusion of Revelation, identifying him with the brilliant star that heralds morning.
(Seeing You Again) For the First Time — Corpus Christi (2010) Revelation 22:16
The divine speaker adopts the celestial identity Jesus gives himself at the conclusion of Revelation. The first-person identification makes this more specific than a general image of dawn.
Come People of the Risen King — Keith & Kristyn Getty & Sing! (2008) Revelation 22:16
The song addresses Jesus using the celestial title he gives himself at the close of Revelation. Its identification of the risen King with this image makes the connection specific.
Jesus You're Beautiful (Live) — CeCe Winans (2021) Revelation 22:16
The song identifies Jesus with the radiant morning-star title that the risen Christ applies to himself near the conclusion of Revelation.
Can't Hide From Your Love — Aaron Shust (2007) Revelation 22:16
The morning-star imagery in the song's direct address to God evokes Jesus' identification of Himself with that celestial image. The song applies it to divine faithfulness rather than reproducing the verse's full declaration.
So Come (intro) — Israel & New Breed (2008) Revelation 22:17
The closing identifies the Spirit and the Bride as the speakers of an invitation to come, directly invoking Revelation's concluding invitation.
Things are Not Okay — Jon Thurlow (2013) Revelation 22:17
The spoken ending directly invokes the Spirit and the bride’s invitation in verse 17, then repeats the closing prayer for Jesus’ coming in verse 20. These explicit references frame the community’s longing through Revelation’s concluding appeals.
The King Is Coming (Live) — Red Rocks Worship & Tyler Roberts (2025) Revelation 22:17
The song references the unity of the Spirit and the Bride, which aligns with the invitation to come and take the water of life freely found in Revelation 22:17.
At the Cross — Brian Free & Assurance (2017) Revelation 22:17
The universal invitation for anyone willing to come closely echoes Revelation’s concluding summons, which extends freely to whoever desires to receive life.
Come Thou Fount, Come Thou King — Gateway Worship (2010) Revelation 22:17
The chorus portrays the church as Christ’s bride calling for him to come, echoing the bride’s invitation at the close of Revelation.
Come Just as You Are — Crystal Lewis (2014) Revelation 22:17
The Spirit’s repeated invitation, combined with the offer to receive life-giving water, closely echoes this passage’s invitation to the thirsty to accept the water of life freely.
Jesus (Ao Vivo) — Nívea Soares (2019) Revelation 22:17
The repeated identification of the church as Christ’s bride calling for him to come directly evokes Revelation’s closing appeal for Jesus’ return.
És o Exaltado - Ao Vivo — MORADA (2020) Revelation 22:17
The final chorus directly invokes the Spirit and the bride joining in the invitation for Christ to come, reproducing the distinctive wording and eschatological appeal of this verse.
Be Set Free — Josh Garrels (2009) Revelation 22:17
The song closely adapts Revelation’s closing invitation by identifying the Spirit as the speaker calling people to approach. It frames that invitation in terms of liberation rather than the passage’s offer of the water of life.
New Jerusalem — Matt Gilman (2013) Revelation 22:17
The bridge directly reproduces the joint invitation issued by the Spirit and the bride, incorporating it into an appeal for Christ’s return.
So Many Roads — Neal Morse (2010) Revelation 22:17
The Savior section closely adapts Revelation's invitation for anyone willing to come. It applies that invitation to receiving Jesus rather than explicitly retaining the passage's water-of-life imagery.
All Are Welcome — Danny Gokey (2021) Revelation 22:17
The chorus and second verse draw directly from Revelation’s closing invitation, and the spoken interlude explicitly identifies and recites the passage concerning the Spirit, the bride, the hearer, and the freely offered water of life.
He Who Is To Come — Kristian Stanfill & Passion & Cody Carnes (2023) Revelation 22:17
The closing prayer joins the Spirit and the bride in calling for Jesus to come, directly adapting the final invitation and response in Revelation.
SO BE IT (feat. Tiffany Hudson & Chris Brown) — Elevation Worship (2026) Revelation 22:20
The closing appeal for Jesus to come closely reproduces Revelation’s final prayer for Christ’s promised return.
Blessed Is He — Josh Garrels (2008) Revelation 22:20
The brief appeal for Jesus to return soon, together with the repeated assent, closely adapts Revelation’s closing exchange between Christ’s promise of his coming and the believer’s prayer for that coming.
Advent Song — The Porter's Gate (2021) Revelation 22:20
The closing appeal directly echoes Revelation's final prayer for Jesus to return.
Jesus We Enthrone You — Don Moen (2010) Revelation 22:20
The refrain reproduces Revelation’s closing invocation for Jesus to come. The song places that biblical prayer within a request for his presence in congregational worship rather than explicitly describing his final return.
Long Distance Letter — Kathy Troccoli (2020) Revelation 22:20
The treasured promise of an imminent meeting with Christ reflects Revelation's concluding assurance that he is coming soon.
Poderoso — Marcos Witt (2011) Revelation 22:20
The song recalls Christ’s promise that he will return soon, closely adapting Jesus’ concluding assurance in Revelation.
Come Jesus Come — CeCe Winans (2024) Revelation 22:20
The song’s repeated appeal for Jesus to come closely echoes Scripture’s closing prayer for Christ’s return.
Even So Come — Passion, Chris Tomlin (2015) Revelation 22:20
The central refrain closely reproduces Revelation's closing prayer for Jesus to return. The repeated announcement of his imminent coming also echoes the promise immediately preceding that prayer.
U Getting Jumped Tonight — Social Club Misfits & FERN & Marty (2024) Revelation 22:20
The repeated warning that God is coming soon closely echoes Revelation's concluding promise of Christ's imminent return and urges spiritual readiness.
OH! Se Fendesses - Ao Vivo — MORADA (2019) Revelation 22:20
The Aramaic invocation for the Lord to come reproduces the early Christian cry preserved by Paul and aligns it with Revelation’s concluding prayer for Jesus’ return.
Farther Along — Josh Garrels (2011) Revelation 22:20
The closing appeal for the Lord's imminent arrival closely adapts Revelation's concluding prayer for Jesus to come. Its placement after the depiction of final judgment makes this more specific than a general appeal for God's presence.
Hu Yavo (He will Come) — Joshua Aaron (2014) Revelation 22:20
The outro's Hebrew appeal for Jesus to come closely adapts Revelation's closing response to his promise of return.
Minha Alma Te Ama (Ao Vivo) — Isadora Pompeo (2024) Revelation 22:20
The closing appeal for Jesus to come directly echoes the final prayer of Revelation, expressing both a desire for present nearness and expectation of Christ’s return.
What I Think About — Zauntee (2024) Revelation 22:20
The assurance of Christ’s imminent return closely restates Jesus’ concluding promise in Revelation.
All Praise (Sing Praise) — Vertical Worship (2020) Revelation 22:20
The bridge addresses Jesus and repeatedly affirms the closing promise of Revelation that he will return soon.
Questions — Steven Curtis Chapman (2009) Revelation 22:20
The repeated appeal for the Lord's speedy arrival closely combines Jesus' promise of a swift return with the closing prayer for him to come. The surrounding expectation of redemption reinforces this connection.
Survival — NEEDTOBREATHE (2020) Revelation 22:20
The urgent appeal for Jesus to come quickly closely echoes Revelation’s closing prayer for Christ’s return. The song applies that eschatological appeal to an immediate need for rescue and renewal.
Send Me (Live) — SEU Worship, Chelsea Plank (2024) Revelation 22:20
The recurring appeal for Jesus to come closely reproduces the closing prayer of Revelation for Christ’s return.
Worthy One - Live — Sovereign Grace Music (2019) Revelation 22:20
The petition for Jesus to come reproduces the closing prayer of Revelation and expresses the same longing for his return.
Kingdom of God — Luke + Anna Hellebronth (2019) Revelation 22:20
The opening appeal for Jesus to come repeats the closing prayer of Revelation, expressing longing for Christ’s arrival and final restoration.
Simple Kingdom - Live — Bryan & Katie Torwalt & Cody Carnes (2022) Revelation 22:20
The plea for Jesus to come quickly closely echoes Scripture’s final prayer for Christ’s promised return.
A Thousand Generations (feat. Dan Rivera) — SEU Worship & Dan Rivera (2020) Revelation 22:20
The church’s appeal for the Lord Jesus to come closely reproduces the concluding prayer of Revelation. Its accompanying desire for creation’s restoration reinforces the passage’s eschatological context.

Revelation 22 (King James Version)

¹ And he shewed me a pure river of water of life, clear as crystal, proceeding out of the throne of God and of the Lamb.

² In the midst of the street of it, and on either side of the river, was there the tree of life, which bare twelve manner of fruits, and yielded her fruit every month: and the leaves of the tree were for the healing of the nations.

³ And there shall be no more curse: but the throne of God and of the Lamb shall be in it; and his servants shall serve him:

⁴ And they shall see his face; and his name shall be in their foreheads.

⁵ And there shall be no night there; and they need no candle, neither light of the sun; for the Lord God giveth them light: and they shall reign for ever and ever.

⁶ And he said unto me, These sayings are faithful and true: and the Lord God of the holy prophets sent his angel to shew unto his servants the things which must shortly be done.

⁷ Behold, I come quickly: blessed is he that keepeth the sayings of the prophecy of this book.

⁸ And I John saw these things, and heard them. And when I had heard and seen, I fell down to worship before the feet of the angel which shewed me these things.

⁹ Then saith he unto me, See thou do it not: for I am thy fellowservant, and of thy brethren the prophets, and of them which keep the sayings of this book: worship God.

¹⁰ And he saith unto me, Seal not the sayings of the prophecy of this book: for the time is at hand.

¹¹ He that is unjust, let him be unjust still: and he which is filthy, let him be filthy still: and he that is righteous, let him be righteous still: and he that is holy, let him be holy still.

¹² And, behold, I come quickly; and my reward is with me, to give every man according as his work shall be.

¹³ I am Alpha and Omega, the beginning and the end, the first and the last.

¹⁴ Blessed are they that do his commandments, that they may have right to the tree of life, and may enter in through the gates into the city.

¹⁵ For without are dogs, and sorcerers, and whoremongers, and murderers, and idolaters, and whosoever loveth and maketh a lie.

¹⁶ I Jesus have sent mine angel to testify unto you these things in the churches. I am the root and the offspring of David, and the bright and morning star.

¹⁷ And the Spirit and the bride say, Come. And let him that heareth say, Come. And let him that is athirst come. And whosoever will, let him take the water of life freely.

¹⁸ For I testify unto every man that heareth the words of the prophecy of this book, If any man shall add unto these things, God shall add unto him the plagues that are written in this book:

¹⁹ And if any man shall take away from the words of the book of this prophecy, God shall take away his part out of the book of life, and out of the holy city, and from the things which are written in this book.

²⁰ He which testifieth these things saith, Surely I come quickly. Amen. Even so, come, Lord Jesus.

²¹ The grace of our Lord Jesus Christ be with you all. Amen.