Over the whole performance I actually hear surprisingly little "pitch strain". She has a few high notes in between and they come out comparatively clear and effortless, belying the rough take she puts on the main delivery of the lyrics.
People appear worried about her vocal folds: those aren't actually significantly in danger from premature strain. What young voices need to be aware of is that in proximity to the vocal break (and "proximity" is measured in decades) cartilege is softer, like an arthropod after molting, and takes time to harder out. Singing high-pitched notes or other utterances putting a lot of pull on the vocal folds across the now larger larynx (infants can cry and scream all day without damage other than to the nerves of their parents, and the baroque jackhammers of singing were castrates never having gone through a vocal change) can be damaging here, but not to the vocal folds but the larynx that needs to anchor the forces put across the folds.
A rough voice like the one in this recording can be produced by forcing air through strained folds. The clear and rather relaxed high notes in between, however, suggest that she is achieving this through technique more than excessive strain.
I don't actually know how much of a vocal break is yet coming for her: it may well be that she should tread quite more lightly when her voice undergoes additional maturing, and depending on where she went until then in her life decisions, that may be hard to do then.
But the state in that recording is more of a "jury's still out on that" thing to my hearing.