Good response from Phil.

Right off the bat your low range needs more pizazz. You need to capture the listener's interest right from the first second and you're barely giving us any sound at the beginning. Now my tessitura naturally goes this low, so I'm not sure whether this applies to a higher lighter voice like yours, but what you could try to develop to get more of an exciting tone down there is work on building more cord closure and bright timbre down in that range as part of your regular vocal routine, and make the goal to take out the airiness as you go lower and actually get progressively more compressed and fry-like the lower you go. But aim for a neutral larynx and relaxation, not using force to jam the larynx down. So you're developing this neutral larynx setup with firm closure and just getting the low pitch from really slack and thick folds, and then as your cord closure strengthens you can lean into that strong compression with more and more subglottal pressure and then eventually you'll have a loud dynamic AVAILABLE down there so that you actually have the technique to start adding what I would call "micro-dynamics" (the swells and stuff those soul singers do). I think a lot of light singers just don't have any other volume other than "light and airy" available down there and that is their issue, as soon as you train some thickness you gain the flexibility to apply contrast for stylistic interpretation and it will sound more inviting to "listen to" rather than just "hear" it kinda pass by.

Also lyric interpretation, lyric interpretation, lyric interpretation. This is a musical theater song, you are expected to go very intense on the lyric interpretation. Whether you do a rock or pop spinoff or not, it is still the same song and the composition demands a theatrical delivery in the way you sing it. And no it doesn't mean being all fake, it means being a heightened emotional state of YOU, connecting with the meaning of the song, that we can hear through your voice. And also both a big picture emotion to the song (strength, independence, soul-searching) as well as mapping out key details, e.g. on the word "cold" in a certain verse you want to use a breathiness...mark it, memorize it, do it every time and just keep working on making it sound authentic

This goes hand in hand with what Phil is talking about with soul & R&B singers because the actual tangible result of lyric interpretation is these little volume swells and variations of textures and tone and stuff, and perhaps some planned and some spontaneous. Take some time to listen closely to some great contemporary musical theater singers and you will learn from them too, the two styles approach it a similar way just kind of different applications/perspectives

Don't be afraid to let a tiny bit of nasality come through in the middle range (around F3-Eb4 maybe?) just to give a more natural and speech like sound.

Work on your legato as well, you disconnected a lot of phrases

I noticed you scooped up to the high note at the end, you definitely can't get away with that, I think you'll have to learn how to cry into it from above...something I'm also trying to figure out myself, but I hear all the masters do it.

I actually think that LAST "cold never bothered me anyway" at the tail end sounded a little bit better than the other low parts for some reason.