Coldplay became the biggest band from the 21st century on the strength of 2000’s “Parachutes” — the group’s Grammy-winning, double-platinum debut — and its even better follow-up, 2002’s “A Rush of Blood to the Head.”

It truly seemed to be — to borrow from one of their signature songs — all “Yellow,” with the stars shining for Chris Martin and his band of blokes.

But somewhere along the way, it became cool to hate on Coldplay — even as the Brits became one of the few rock bands not named the Rolling Stones or U2 that could fill a stadium. And with the quartet’s new double album, “Everyday Life,” arriving Friday, it’s time to stop shading them.

Give Coldplay some respect.

How exactly did the foursome behind hits such as “Clocks,” “Viva La Vida” and “Paradise” become the new Nickelback? How did they become the butt of jokes and insults — from “The 40-Year-Old Virgin” to the 2016 Super Bowl, where the headliners were mercilessly upstaged by Beyoncé and Bruno Mars?

Well, it probably started with them being sensitive dudes who were in their feelings. People saw them as soft, even though they never pretended to be hard.

And while Martin was relatable, coming off like the rock star next door, his nerdy nice-guyness grated on some. He was bullied by the likes of Liam Gallagher and even Bono, who once called Coldplay’s frontman “a cretin.” His Hollywood marriage to Gwyneth Paltrow certainly didn’t help: When you name your daughter Apple and announce your “conscious uncoupling,” eyes will roll.

But Martin has also been the kind of rock star that you would want your son to grow up to be. Instead of trashing hotel rooms and bed-hopping from groupie to groupie, he’s been a steady family man and humble do-gooder, serving as curator of the Global Citizen Festival.

He’s also remained loyal to Coldplay, resisting the temptation to go solo. And that’s a good thing, as demonstrated by “Everyday Life”: The band’s eighth studio album — and first since since 2015’s “A Head Full of Dreams” — proves that, while they may now be “Justin Bieber’s dads,” as Martin once joked, they’re still pretty good at what they do.

The LP — which, at 53 minutes, is really no longer than a standard album — is split into two parts: “Sunrise” and “Sunset.” And from the moment it opens with the string instrumental “Sunrise,” Coldplay makes its arena-size ambitions clear, setting you up for the journey.

The sprawling “Everyday Life” really does take you all over the place; “Church” rides the atmospheric rhythmics that the band first employed on 2005’s “X&Y,” while “Trouble in Town” plays like a moody cousin to the “Parachutes” standout “Trouble.”

“Trouble in town/Because they hung my brother brown/Because their system just keeps you down,” sings Martin, addressing racial injustice like the conscious global citizen that he is.

Coldplay also takes a stand with the biting folk commentary of “Guns.” And they strike a progressive stance with their sense of experimentation too, venturing into Afrobeat (“Arabesque,” featuring Nigeria’s Femi Kuti), choral music (“When I Need a Friend”) and even gospel (“BrokEn”).

Still, “Everyday Life” songs such as “Daddy” — a gorgeous, son-to-father piano ballad — embrace the everyman in a way that Coldplay’s music always has. As Martin’s voice soothes you and his gentle guitar strokes you on “Old Friends,” they feel just like that title says. And that sure as hell deserves some love.