Music permeates our existence, and God Himself is constantly surrounded by it, as choirs of angels praise Him with song. In the vision of God's throne in heaven, angelic beings ceaselessly offer their praises through songs and poetry, extolling His virtues. Anyone approaching His throne does so with music, reflecting the divine importance of song in worship. A profound example of this is found in the redeemed, the 144,000, who stand with the Lamb in the Kingdom of God. These select individuals, marked by the Father's name on their foreheads, have overcome great tribulations under the influence of satan the devil. Their unique experiences grant them the privilege of learning and singing a new song before God, a song no one else can learn. This unique praise, born from their overcoming of the world and its trials, reflects a deep kinship with the Lamb, whom they follow wherever He goes. As firstfruits, they hold a special rank, elevated above others who enter the Kingdom later, and their song remains a mystery, its words unspoken, leaving us to ponder what they sing to glorify Him. Further insight emerges with those standing on the sea of glass, the overcomers who did not worship the beast. They sing the song of Moses and the song of the Lamb, though whether this is one song or two remains unclear. The song of Moses may draw from historical songs attributed to him, filled with themes of God's judgment on the wicked and redemption of His people. These songs echo universal truths about how God deals with sin, punishes those who oppose Him, and rewards His servants. The imagery of standing by a sea, whether the Red Sea or the sea of glass, parallels the divine intervention and judgment that both punish the guilty and save the redeemed. This new song, whether tied to specific historical songs or encompassing broader themes, signifies a profound act of worship before God's throne. It encapsulates the contrasts of salvation and condemnation, life and death, as seen in the harvests of the righteous and the wicked. Those who sing it, having chosen life, stand as kings and priests, ready to teach others the lessons embedded in these songs, guiding them to choose the path of redemption over wrath.

In the context of Isaiah's Apocalypse, spanning chapters 24 through 27, the concept of a new song emerges as a powerful expression of praise and deliverance among God's remnant. Across history, God's people have sung in His presence during significant moments of triumph and salvation, and they will do so again when Christ returns as the great King to Jerusalem. Isaiah 24:14-16 portrays remnants scattered across the earth, singing for the majesty of the Lord from the coastlands of the sea to the ends of the earth, glorifying the Righteous One who has preserved them despite their small numbers. Isaiah 26 captures the essence of the song the remnant will sing upon Christ's return, particularly those in or near Jerusalem. Verse 4 links thematically to the Song of Moses in Exodus 15, sharing elements like the name Yah, associated with salvation and deliverance, and the concepts of forever and everlasting, emphasizing the eternal nature of God's reign. This connection suggests that the song of the remnant echoes the ancient praises sung after crossing the Red Sea, reflecting a continuity of worship through God's mighty acts. The term "new song" appears in various contexts in God's Word, often when His people praise Him after deliverance from major difficulties. Though the sentiment of gratitude and triumph remains consistent, making it an old song in essence, it is new to each generation of singers who experience God's wonders afresh in their unique circumstances. Just as the children of Israel sang the Song of Moses for the first time after their exodus from Egypt, having known only groaning in slavery, so too will the remnant sing a new song upon witnessing Christ's return and the establishment of His reign. This song, while rooted in ancient praise, becomes a fresh expression of joy and thanksgiving for God's ongoing work of salvation and reconciliation.

In Isaiah's apocalypse, spanning chapters 24 to 27, the theme of singing emerges as a significant expression of joy and praise among God's people. The prophet uniquely emphasizes songs and singing, using related Hebrew terms 35 times across his writings, far surpassing other prophets. This singing stands in stark contrast to the despair of the godless in the world-city of Babylon, highlighting the goodness of God to His children amidst widespread devastation. In Isaiah 24:14, the remnants, described as grape gleanings and olives clinging to the shaken tree, lift up their voices and sing for the majesty of the Lord from the ends of the earth. These remnants, representing both national Israelites and members of God's church, are scattered worldwide, even in distant coastlands, glorifying Him from afar. Their songs and shouts proclaim His glory during the Day of the Lord, a time of divine judgment and triumph. Isaiah 26:1 speaks of a song sung in the land, signifying the joy of those who know God, who have waited and hoped for Him. This singing is not the response of the unrepentant world, but of the faithful who recognize His presence and rejoice ecstatically. The remnants' singing serves a purpose, acting as a worldwide welcome to the victorious King, glorifying Him as He returns in power and great glory to reign over the earth.