The only thing stopping them is the force of gravity, which as explained earlier is no object as they can “fly away”. Nevertheless, it’s what keeps their romance together.

Gravity gets compared to love because the former is a force of nature, and the latter might as well be one, as it drives lovers to go lengths for each other. Plus, both are attractors.

Like in “I’m Not Calling You a Liar”, her past relationships come to mind when it comes to her current one. She keeps messing romance up by choosing disloyal men. It saddens her. Up to this point, it seems like the album centers around one specific relationship, but it’s possible she borrowed elements of previous breakups to improve the story.

In the story of Samson and Delilah. Samson, after being blinded, asks a philistine servant boy next to him to guide his hands to the pillars. Then, with God’s help, he pulls the pillars of the building down, killing hundreds of Philistines and himself. This line may be Florence contemplating pushing the self-destruct button on this relationship, knowing that she’ll achieve her freedom, but that it will hurt like hell in the process.

Lie could also be heard as “line” (Florence doesn’t tend to enunciate very well leading to ambiguity which can be interesting). Line would add an element of drug use (we’ve already got pills in this song and she’s referenced drug use in other songs such as in “Blinding”). Also, it adds a meta interpretation; it’s another “boy” breaking the woman’s heart and therefore she’s writing another line of lyrics to another song about heartbreak.

Regardless, Melanie is pretty upset that no one came to pity her, so who cares if this place burns down?

In her mind, her world’s falling apart into an inferno as her insecurity sets in. In light of the music video, she might be literally setting fires as a part of her breakdown.

A twist on the expression “burning bridges”, which means to cut off previous relationships during a departure. Except the “bridges” between Florence and her boyfriend still exist.

As she considers returning to her lover’s home, she wonders if he’ll welcome her back, especially since he didn’t call her. It’s a fear one has when it comes to seeing long-gone lovers.

Florence start the regal metaphors by casting her boyfriend as the king. At this point, she’s less than happy with their relationship. He’s a holy fool after all, but he suffers while she’s overseas in the Americas.

Only she can ease his lovesickness, but she knows that a battle between the two of them looms.

A reference to the madness of Saul in 1 Samuel 16:14-23 where David plays the lyre to Saul who is being tortured by an evil spirit, the only thing that can calm him. The juxtaposition of David, healing Saul when Saul is the greatest threat in his life, mirror’s Florence’s relationships with her boyfriend–he is her enemy and tormenter, but she is pushed into proximity because she wants to heal his madness, which also lashes out against her.

Remember that call Florence’s boyfriend never gave her in “Delilah”? Now that they’re deliberating their relationship’s future, she can’t help but subtly poke him at his carelessness.

However, she still struggles. Even if their relationship is falling apart, she can’t help but feel lovesick toward her neglectant man.

He had bad effect on her, and bad, although she is not proud of it, is exactly what makes her feel “free”.

She alludes to Etta James‘ song “Something’s Got a Hold of Me”, the song that she approached her manager with shortly before she got signed. However, this is a darker context, as the lovesickness hurts.