Below is the complete album of songs from the show.

Here is the short synopsis of the plot and structure of the show

SEVEN SOULS ON GALLOW GREEN​

A Community Music Drama
Book, Music and Lyrics by Alan Fleming Baird


THE STORY



We open on a scene familiar to anyone who has spent an evening in  a bar in Paisley. A singer-songwriter sits on a stool with his guitar. His is dressed in contemporary clothes, a microphone before him, a pool of warm light around him. He begins to sing — warm, unhurried, a local musician with a local story. But this is no ordinary gig. (SONG: "The Storyteller's Prologue")

The song he sings draws his audience in. They find themselves in a modern museum exhibition about the Paisley Witch Trials of 1697 — the last mass execution for witchcraft in western Europe. Seven people were hanged and burned on Gallow Green. Their ashes lie at Maxwellton Cross, at the intersection of Maxwellton Street and George Street.

As the museum guide tells the story, something extraordinary begins to happen. The visitors find themselves drawn toward two large wooden chests of period costumes. They dress in costumes from the time of the trials. They transform. The past reaches out and claims them. The singer-songwriter becomes "The Expositor" — the voice of the community, the man who will drive the story forward — and the drama of Bargarran in 1697 begins. (SONG: "For A Story Must Be Told")

We are introduced to the people of Bargarran enjoying a Beltane celebration on the green — dancing, singing, neighbours greeting neighbours, children playing by the burn. This is a community at its warmest and most innocent. (SONG: "On Bargarran Green") One man, moved by the beauty of the evening and the place he has always called home, begins to sing. The community joins him. (SONG: "You Are Always Home To Me") Among them, at the edge of the gathering, stands Agnes Naismith — present, belonging, but somehow not quite included in the warmth around her.

The Expositor steps forward. In rhyming couplets he reveals what lies beneath the surface of the community's warmth — whispers, rumours, the dark talk that follows Agnes wherever she goes. No proof. Just words. Agnes responds with quiet dignity, singing of the only things she has ever wanted — honest work, honest worth, to be left in peace. (SONG: "Let Me Be") The community listens. Then life simply carries on without her.

The working women head to the fields. (SONG: "Life's A Bonnie Spell") The children play their counting game by the burn — an innocent melody that will thread through the rest of the evening in ways none of them could imagine. (SONG: "The Children's Song") And then the gossip surfaces. One voice speaks of witches. Then another. Then the whole community is singing — the rumour becomes a roar, The Expositor at their head, absolutely certain, absolutely righteous, absolutely wrong. (SONG: "There Are Witches")

Act One ends with the community unified behind their conviction, singing with one voice. The Expositor leading them into the darkness of what is coming. (SONG: "A Truth To Declare") The lights go down.




Act Two opens as Act One began — the singer alone on his stool with his guitar. He is in his period costume from Act One. He has not returned to the present. Something has been carried across that cannot be put back. (SONG: "The Storyteller's View")

The community reassembles. Life appears to continue normally — the drinking song, the familiar warmth of neighbours together. (SONG: "Drinking Song") But it does not last. The accusations resurface, more driven than before. (SONG: "There Is Evil Where The Darkness Gathers") Names are spoken publicly. Real names. Neighbours. Friends. People the community has known all their lives. Once spoken, they cannot be unspoken. (SONG: "There Are Names")

Agnes is brought to trial. The community sings its judgement — calm, certain, procedural. (SONG: "Cast Them Out") Agnes says nothing in her defence. She simply stands. Then she raises her head.

Agnes steps forward. Facing condemnation, facing death, she finds in herself something older and stranger than fear. She curses the community that has condemned her with a fury and a power that silences everyone on stage. (SONG: "Carry This Curse Till The Last")

Seven chords sound in darkness. The Expositor speaks seven names.

In the silence after the names, the full company sing — unaccompanied, bare human voices — the children's innocent counting game one final time. The melody that began the evening in innocence now carries the full weight of everything that has happened.

One two three / someone's at the door
One two three / grab your stones and sticks
Four five six / name them if you dare
Four five six / point and they'll be there

On the final word the Expositor raises his arm and points into the darkness upstage.

And Agnes is there.

Dressed in white, still and certain, emerging from exactly the place he is pointing toward. Is she the condemned woman returning to claim her town as she promised? Is she a ghost? A haunting that has never left Paisley in three hundred and twenty nine years? A memory the community cannot shake? The show does not answer. The audience does.

She sings of home — of belonging to this place, this town, these people — she belongs in every street from now on. Present and defiant. (SONG: "I Am Always Home To Thee")

In the stillness that follows, one member of the community walks through the familiar streets of his town and finds them changed. The place is the same. Something has left its mark that cannot be removed. (SONG: "Nothing Has Changed At All")

As the community slowly returns to the present — shedding their period costumes, becoming themselves again — they carry the weight of the story they have just lived. (SONG: "For A Story Must Be Told" — Finale) The singer returns to his stool. His guitar plays one last song while the cast sing as a memorial to the victims of the Bargarran witch trials. (SONG: "Gone Where We Cannot Go")