negative_payload. The song's dominant engine is a payload the narrator delivers TO a hurting woman, so the harm axis governs. This is not a self-portrait of a corrupt actor (which would route to contamination) but a stance the material advances as admirable, so it routes to payload.

-55. HARM -55, PERVASIVE. Two red-adjacent tenets carry the reading and they are hook-carried, not incidental. Tenet 3 (violence offered as the solution): the fix for the woman's pain is arson of a whole town plus a slang pledge to kill or badly harm whoever wronged her. Tenet 6 (revenge celebrated rather than processed): the accumulated stance romanticizes getting even and destroying the culprit instead of metabolizing the hurt. The guest voice escalates the same pledge (start a riot, turn the city upside down), so the destructive engine is doubled, not softened. The promise to burn everything to the ground is the relentlessly repeated hook, which is what makes the harm PERVASIVE rather than one dark line: the payload rides the most-repeated, most-singable unit of the song.

0. Nothing lifts. The tenderness-and-hope thread (naming her pain, insisting better days are coming, offering himself as comfort) is genuine and it is part of why this is not deeper, but it does not transcend the material. It is the devotional wrapper the vengeance is packaged inside, not a competing redemptive engine.

sat=-1 (the destructive intent saturates the whole run through the hook), res=+1 (the tenderness/hope thread and the protective frame lend one small upward resolution, the lone positive vector), reg=-1 (the register glamorizes the revenge as loyalty), reach=-1 (others-directed: the threat points outward at a third party).

sits between -45 and -65. It is PAST the -45 sympathetically-framed payload because the engine is not merely a sympathetic grievance; it is celebrated revenge and violence carried on the hook. It APPROACHES the -65 others-directed precedent because the threat is aimed outward at a culprit and doubled by the guest voice. It is HELD short of red (deep orange, not corrupted) by three brakes: the devotional/protective frame (violence offered as loyalty to a wronged woman, not contempt), the genuine tenderness-and-hope thread running alongside, and the hyperbolic register (burn-the-town arson reads as scale-of-devotion hyperbole, with no named target and no contempt-diss). So it lands deep in the orange band, bracketed between the two precedents.

false. A harm-axis song cannot be contaminated; the payload is the object of measure.

false. No doctrinal submission or reverence-halo at work; R14 not engaged.

revenge (dominant), romance, violence.

0.9. The engine and the brakes are both unambiguous; the only judgment call is the exact depth within orange, which the precedent bracketing settles.

negative_payload. The song's dominant engine is a payload the narrator delivers TO a hurting woman, so the harm axis governs. This is not a self-portrait of a corrupt actor (which would route to contamination) but a stance the material advances as admirable, so it routes to payload.