Tom Petty’s “Angel Dream (No. 2)” has always been one of the hidden gems in his deep catalog—a gentle, soul-searching ballad originally written for the 1996 She’s the One soundtrack. It’s a love song, sure, but it’s more than that. It’s a prayer wrapped in starlight, whispered by someone who’s stumbled out of the dark and found something worth holding onto. Covering a song like that is a delicate operation, but Daniel Grindstaff & The Uptown Troubadours don’t flinch. Their brand-new version, the first single from their upcoming album, doesn’t just cover “Angel Dream”—it inhabits it.
URL: https://danielgrindstaff.com/
We’ve heard Petty songs reimagined before. Johnny Cash gave “I Won’t Back Down” the gravity of a final sermon. Norah Jones softened “Time to Move On” into something spectral. Even bluegrass and Americana artists have dipped into Petty’s well—think of Willie Watson’s stark live renditions or The Infamous Stringdusters’ joyful version of “American Girl.” But what Grindstaff and company achieve here is something rarer: a respectful reworking that transforms without diluting.
Stripped of its original Heartbreakers production, “Angel Dream” finds new emotional footing in this acoustic, Bluegrass-rooted setting. The song opens not with keys or ambient guitar, but with the bright, melodic picking of Grindstaff’s banjo. It’s a sound that immediately repositions the song—less California dream, more Appalachian reverie. And yet, the emotional center holds.
Kevin Richardson’s performance on lead vocal is a standout here. His delivery is unhurried and soulful, never overwrought. He doesn’t chase Petty’s phrasing or imitate his tone—instead, he lets the lyrics breathe: “Now I’m walkin’ / this street on my own / but she’s with me / everywhere I go.” In the hands of The Uptown Troubadours, those lines feel like they could’ve been scribbled in a notebook on a Tennessee front porch.
The band’s instrumentation is tight but never showy. Grindstaff’s banjo carries melodic weight while Kent Blanton’s upright bass provides quiet momentum. Derek Deakins’ fiddle adds a bittersweet, yearning layer, especially during the instrumental breaks. Andy Leftwich’s mandolin sparkles without stealing focus, and the ensemble vocals—rounded out by Shawn Lane—give the chorus a gospel warmth. This is not a showcase of technical fireworks; it’s an exercise in emotional clarity.
Perhaps the most powerful part of this version is how it elevates the redemptive arc of the original. In Petty’s recording, “Angel Dream” felt ethereal—something drifting just beyond reach. Here, it feels grounded, tangible. When Richardson repeats “I can only thank God it was not too late,” it lands like a testimony. It’s not just poetic—it’s personal.
For fans of Petty, this cover offers a new lens through which to appreciate a deep cut. For fans of modern Bluegrass and Americana, it’s a reminder of how expansive and adaptable the genre can be. As a lead single, “Angel Dream” sets a high bar. It promises an album steeped in tradition but unafraid to wander. Much like the angel in the lyrics, this one arrives right on time.
Mindy McCall
