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Coldplay’s Chris Martin promised his 15,000 fans that they’d be getting the concert of their lives Thursday night at Scottrade Center.

“Can you feel it?” he asked, amid cheers.

That’s unfiltered hyperbole, of course, but it sure sounded great. And the feel-good British rockers did their best to make that promise a reality in a two-hour concert filled with arena anthems, varied stages, an audience request, confetti and lasers, uplifting messages of love and unity, a Nelly reference and even more confetti and lasers.

And it was all in glorious Technicolor as colors of the rainbow were brightly and prominently incorporated into the show. Fans were given wristbands that were synced to light up in various color combinations throughout the show.

Coldplay, early in the North American run of its “Head Full of Dreams” tour, solidified its status as the band to beat with a joyous, blood-rushing ride that kicked off with the buoyant “Head Full of Dreams” title track, a pacesetter if ever there was one. The concert’s best moments were the pulsating tunes such as “Viva la Vida” (with killer percussion from drummer Will Champion), “A Star Full of Stars,” “Adventure of a Lifetime” (when big, colorful balls were bounced around) and the exhilarating “Every Teardrop is a Waterfall” (during which Martin pulled out an American flag and covered his face).

Jumping, skipping and spinning along the lengthy walkway leading to the B-stage, and alternating between guitar and piano, Martin remained fully engaged throughout. He also apologized for him and Champion, guitarist Jonny Buckland and Guy Berryman being such a sweaty band.

“I understand where Nelly got the idea for ‘Hot in Herre,” he said.

On the B-stage, situated in the middle of the floor, Coldplay huddled together for “Always in My Head,” “Magic” and “Everglow.” Before “Everglow,” Martin said he wanted everyone to send good vibes to people who need it in Nice, France; London; Orlando, Fla.;, Baton Rogue, La., and other cities moving forward after recent tragedies. “Everglow” ended with a video of Muhammad Ali talking about uniting people.

Martin lay on a bed of red confetti to wail out “Fix You,” eventually rising to dramatically sing on his knees. Another softer moment came with the mellow “Yellow.” “Hymn for the Weekend,” recorded with Beyoncé, was full of pyro and kaleidoscopic imagery.

In a nod to the many remixers who’ve amped up Coldplay’s music, “Paradise” culminated in a remix by EDM artist Tiesto.

A trek through the crowd to a third stage far from the main stage brought the band right in fans’ faces à la its early days. That’s where band introductions were offered late in the show. “I’m Chris. I used to be married to Gwyneth,” Martin quipped.

An audience selection also took place here; fans had made requests via Instagram, with selections varying from city to city. St. Louis’ pick was the twangy “Green Eyes,” from the band’s “A Rush of Blood to the Head” album (2002). Martin also dedicated “God Put a Smile on Your Face” to Faith Hill and revealed the country singer was in the house.

At its end, the show came full circle, with one more confetti blast for “Up&Up.”

Opening for Coldplay were Alessia Cara and Foxes, two rising acts who, while fine in their own right, aren’t quite enough to open Coldplay’s stage.

English singer Foxes fared best , whose new album is “All I Need,” came with songs such as “Better Love” “Youth” and “Feet Don’t Fail Me Now,” better suited for a smaller venue. She fared better with the arena-friendly “Clarity,” the Grammy-winning dance recording by Zedd on which her vocals are featured.

Canadian singer Cara has come a long way since her last St. Louis appearance, an intimate 2015 show that was part of Hot 104.1’s “Who’s Next” series. Selections from her 2015 album debut “Know It All,” including “Here,” “Wild Things” and “Scars to Your Beautiful,” showed traces of a burgeoning young talent. But Cara could have resisted the urge to explain every song before singing it. This wasn’t her “Storytellers” tour, and songs can most often speak for themselves.

Kevin C. Johnson is the pop music critic for the St. Louis Post-Dispatch.