I never really cared for this song. I find the melody extremely repetitive and annoying.
This particular song was addressed in an article from the November 2008 issue of This Rock on bad liturgical music. It’s frank, but I think it’s pretty funny!
From Bad Poetry, Bad Theology by Anthony Esolen
Then it is the Boyfriend Jesus they want, the carpenter’s son who has shoulders broad enough to keep the toughs away, but who is also tender enough to make a girl feel really appreciated: [INDENT]Here I am, standing right beside you.
Here I am; do not be afraid.
Here I am, waiting like a lover.
I am here, here I am . . .
I am here in every warm embrace.
I am here with tenderness and mercy . . .
I am here when pardoning your brother.
Here I am, I am here. (“Here I Am”) The dangling gerund “pardoning” gives the game away. Who is pardoning your brother? It is both God and “you”—or either, or does it make a grammatical or theological difference? I am, you are . . . what’s a little pronoun and a copula, between lovers?
This is not the bridal imagery of God and Israel used in the Song of Songs and Hosea, and not the extension of that imagery to refer to Christ as Bridegroom of the Church. It is the language of ancient mystery cult, of the moon goddess Diana gazing upon the sleek limbs of the lad Endymion sleeping on the hillside. But that shift reflects the strange singing of God’s part by the congregation, and the attribution of man’s words to God: “Here I am,” said Samuel to the Lord, but “Here I am,” says the Lord to the timid beloved, like a Boy Scout of the pagans, always prepared.