[Musical Coincidences #1]
MercyMe’s 2017 album Lifer and Tenth Avenue North’s 2019 album No Shame each have a song that pushes back against an under-realized eschatology that, by setting all its sights on the life to come, would downplay the redemptive work that God is doing and that believers should be participating in today. MercyMe’s song opens with the lines, “Thought I knew / how this all goes, / Tryn’ to get through life / Till you get called home.” The Tenth Avenue North song starts in the same place, but critiques this “get through life” mindset more sharply: “I used to count the days 'til I was gonna fly away, / All I wanted was a promise that You’d take away my pain, / Oh, won't You take away my pain? / I didn't wanna be used to engage / I just wanted to use You to be my escape.” The shared rebuttal to this escapist mindset is conveyed in the songs’ titles. MercyMe’s song is called “Heaven’s Here”; Tenth Avenue North’s is called “Heaven Is Now.” To quote Dash Parr’s 5th-grade teacher in The Incredibles, “Coincidence? I think not!”
Although two songs in two years do not establish a trend, their similarities make me wonder if a shift is occurring in popular-level evangelical thinking about how to reconcile the tension between the Already and the Not Yet. On the one hand, Christ’s incarnation, crucifixion, resurrection, and ascension, and the giving of the Holy Spirit at Pentecost have transformed the status quo of what’s possible in a fallen world. On the other hand, sin, suffering, and death persist and the wheat will keep growing alongside the tares until Christ returns. Keeping these truths in balance isn’t easy. One often gets the upper hand over the other, and this is reflected in what gets emphasized in Christian media. A lot of the Contemporary Christian Music (CCM) that I’m familiar with, from Keith Green in the late 70’s to some of MercyMe and Tenth Avenue North’s own songs in the aughts and 2010’s, emphasize the Not Yet and look forward to spending eternity with God, whether after someone’s physical death or Christ’s second coming. Comparatively few songs that I’m aware of emphasize the Already as emphatically as these two recent songs do: the kingdom of heaven is at hand, they argue, here and now. So, my highly-unscientific, anecdotally-driven hypothesis is that “Heaven Is Now” and “Heaven’s Here” reflect a movement away from stressing the brevity and brokenness of the present world and toward stressing the need for a faithful, redemptive presence in it.
If a shift really is happening, I would welcome some aspects of it as a helpful corrective. I have been saddened to hear older Christians say things like “I can’t imagine bringing a child into this world today” because of rampant godlessness (which, by the way, makes them sound like some secular people closer to my age who fear having kids because of climate change) instead of expressing hope that God can use their descendants to reach the next generation. And I’ve often thought that Christians who long to leave this earth, if they don’t long just as earnestly for the salvation of nonbelievers, act too much like Jonah, sitting outside Nineveh waiting for God to destroy it, and not enough like Jeremiah, calling on the exiles to live faithfully in Babylon. For better or worse, much of my eschatology and practical theology has developed in response to these attitudes. As I wrote in a recent Notebook post, “So much of my creative work and so many of my thought projects are attempts to answer the essential question, ‘How should I live, here and now … in the tension of the already-not-yet?’” Given all that, these songs would seem to be strong candidates for my own theme song.
And yet, now that I have before me two examples of songs that push back against this under-realized eschatology and put my own concerns into words, I’m reminded of the phrase, “Be careful what you wish for.” I won’t say that these songs are guilty of swinging the pendulum too far the other way, into an over-realized eschatology that downplays how badly we need Christ to return soon and make all things new. That could be an unfair charge to bring against them, because a 3- to 4-minute song can only emphasize a few truths at once—and emphasizing one truth does not require denying a contrasting one. Still, I am concerned these songs don’t have the needed nuance to avoid presenting an overly sunny view of our predicament this side of glory.
MercyMe’s theological justification for saying that “Heaven has begun, / Eternity is now” is that “He has raised us up.” This could be a reference to Ephesians 2:6, which says that God “raised us up with [Christ] in the heavenly places in Christ Jesus” (ESV). Amazingly, Paul says this is a completed action, a present reality. And he says elsewhere, in Colossians 3:3, that “you have died [past tense], and your life is hidden with Christ in God [present tense].” However, the song’s response to this theological truth is not to look forward to our complete union with Christ in a new creation without sin and death. Instead the conclusion the song reaches is that “We don’t have to wait, / heaven’s here with us” and “there ain’t no hurry” to get to what’s next. But with all the suffering and injustice around us, shouldn’t we be asking, with anguished cries, “How long, O Lord?” The second verse seems to qualify the song’s optimism, saying “Make no mistake, / Trust me I know, / There’s a place waiting / That we'll call home.” But there’s no grief in the song over the painfully obvious fact that we aren’t there yet.
Another problem with MercyMe’s “Heaven’s Here” is that it doesn’t present an alternative to waiting for heaven. “We don’t have to wait”—but what is the thing we don’t need to wait for and can enjoy now? And if we aren’t waiting for something in the future, what should we be doing in the present? The song doesn’t address the pain of living in a fallen world, and it doesn’t give the listener guidance on how to endure it.
The Tenth Avenue North song is more theologically balanced. “Heaven Is Now” does present an alternative to “wait[ing] until I see those pearly gates.” The alternative is “Let me bring Your grace into this world and recreate.” Instead of acting like Jonah outside Nineveh, the singer says he’s “Not gonna wash my hands and say ‘Let it burn,’ / I wanna burn with your love instead.” The song’s theological justification for this is the Lord’s Prayer: “You taught me how to pray / Let your kingdom come here in my heart.” The desire of the song is for Christians to do God’s will on earth as it is in heaven. And the song is not naive about how hard it will be to live according to God’s will. The singer says that we see “glimpses” of the kingdom “when we learn to love, / And we're forgiving one another.” These words imply that hate is our default setting (love has to be learned) and that we are still sinning and sinned against (necessitating continual forgiveness). The implication is we are still in a fallen world; so the eschatology is not as over-realized as it is in the MercyMe song. Whereas MercyMe gives the impression the party starts now, according to Tenth Avenue North we have some serious, potentially painful and costly work to do for the rest of our earthly lives.
Nevertheless, my concern with the Tenth Avenue North song is that it implies a false binary. We can both “count the days” and still live in the moment. We can both ask God to “take away [our] pain” and trust Him to use the pain for our good. We can both long for our “escape” from this world and “engage” it at the same time. We can have a category for Not Yet and a category for Already at the same time, as conceptually, spiritually, and practically difficult as that may be. But the alternative, emphasizing only the Already and trying to “Walk my city streets like they are paved with gold” would seem to me to require more mental gymnastics, to the point of cognitive dissonance. To say we are awkwardly caught between the Already and Not Yet, desperately needing Christ to come resolve the tension, is more accurate both to the testimony of Scripture and to our own daily experience.