If you are interested in his sound you can study his inflections/tones etc. by listening to a phrase, pausing, try to sing it back and see how close you got, keep going until you aren't "missing" any of the stylistic elements. (optional step, record your voice and listen back to check as you'll hear even more than what you just hear naturally...) Do that phrase by phrase for the whole song and i'm pretty sure you'll basically achieve what you're asking us about, all on your own. The key is really listening closely to every millisecond of what he does and then just practice copying the stylistic elements of it...don't fight yourself to sound exactly like him, just work on what you can manage to pick up stylistically on in a few minutes of practice per phrase. Ideas using vocal fry, breathiness, tonal adjustments, vowels, consonants, dynamics, note duration, timing, riffs, etc. - you can learn how the singer sounds so great by working on doing the exact same things yourself the same way they did in a particular recording. And then when you sing something you actually want to release and call your own you just continue that attention to detail and use of stylistic tools but use them creatively however you feel is best.

Make sure you practice this way with a bunch of singers you like, don't only study one or you'll be limited to only their unique toolbox of stylistic tricks.

Very cool singer you found. can hear a clear Michael Jackson influence in his voice - very cool to hear that kind of metallic tone and breathy vibrato applied to such a physiologically different voice

I can empathize with your struggles. Don't let it bring your down, singers like him are INSANELY skilled so if you can even emulate 20% of the phrases you're doing well. I basically have the same issues you're describing and I think for that kind of stuff you can't emulate even when you really focus on it then that's where you do have to go back and polish up your technique first.

where are you hearing a heady mix though? i just hear full voice and falsetto in that vid. Or maybe you're talking about what he does sometimes around the breathy D4-E4 stuff? He goes for what Phil calls an uncompressed tone there, it's like a mix of chest and falsetto (instead of chest and connected head) where you use a lot of support to keep some of the body of the folds engaged while holding the cords apart to let the breathiness in.