"All Nite (Don't Stop)" is a song recorded by American singer Janet Jackson for her eighth studio album, Damita Jo (2004).

In order to promote both the single and the album, Jackson performed "All Nite (Don't Stop)" during several appearances, including Saturday Night Live, On Air with Ryan Seacrest and Top of the Pops, in addition to the 2004 Video Music Awards Japan.

[6] In the United States, "All Nite (Don't Stop)" was released to contemporary hit radios on May 17, 2004, by Virgin Records as the third single from Damita Jo, following "Just a Little While" and "I Want You".

[19] Jackson's "soft" vocals play "quite a minimal role" on the song, being delivered in a breathy falsetto over an "impossibly lithe bassline", described as "a bitch slap" to the senses by Spence D. from IGN.

[28] Veronica Heffernan of The New York Times said that the lyrics presented Jackson as "a demanding choreographer", as they switch between "1-900 confessionalism" and "drill-sergeant attitude", complemented by the singer's "sweetheart voice".

[29] For Nolan Feemey of Entertainment Weekly, it was clear that through her "with her orgasmic moans, don't-wake-the-neighbors whispers and instructions to 'get hardcore'", that Jackson was not "really talking about tearing up the dance floor".

[28] Gail Mitchell of Billboard commended it as a "beat-bangin' number" with "infectious allure", affirming that "Jackson steps back into her signature groove line with this bass-driven party jam".

Mitchell also regarded it as among Jackson's strongest material, adding that its chorus and "relentless beat" will remain "embedded in your consciousness long after the last note has sounded".

[19] Tareck Ghoneim of Contactmusic.com considered it an "interesting" and "infectious" blend of "upbeat samba/dance rhythms and definite funk influence", with "[e]lectro samples, latin percussion and some groans and breaths to give it a sexy ambience".

Ghoneim added, "it certainly doesn't strike me as a typical Janet record", citing it as another evolution from "those 'Nasty' days" in "maintaining that dance-pop influence but making it slightly more cool".

[17] Chuck Arnold of People described it as a "hypnotic pop number",[14] while Rashod D. Ollison from The Baltimore Sun labeled it a "get-on-up dance cut" which "rides a looping funk guitar line".

[30] Veronica Heffernan from The New York Times praised its "clubby, big-room beats", analyzing its production as "strictly machine-made, with Jackson's sweetheart voice protected by layers of effects".

[21] The Guardian's Alexis Petridis called it "a nervy tune", noting the song's "impossibly lithe bassline", while praising it as "not only inventive, but brilliantly constructed".

[32] Pitchfork's Chris Ott called it "genius" and rated it three and a half out of four stars, qualifying it as part of the "mashup craze" in which artists were "dreaming up new, ear-catching juxtapositions to dazzle radio".

[18] BBC UK's Top of the Pops website exclaimed the track "hits you with about three different basslines and a bonafide booty-quaker of a beat", transitioning into one of her "classic Jackson key-changes" during the chorus.

[34] Tom Moon of The Philadelphia Inquirer called it a moment "when everything clicks" on the album, adding that its "primal quality" ultimately "juxtaposes Jackson's ethereal yearning against agitated synthesizers".

[36] The song's chart success was largely affected by the blacklist of Jackson's singles and music videos which followed her controversial Super Bowl halftime show incident with Justin Timberlake.

[29] The video begins with Jackson's dancers sprawled on bordello furniture in a "cavernous" ballroom inside the building where the air is "cloudy with sawdust or dance chalk".

[29] After Jackson's Super Bowl halftime show incident, MTV and many other music channels owned by companies involved in producing the event blacklisted her videos from rotation.

The excerpt concluded, "A number of networks and broadcasters have gone to a heightened state of self-censorship since the uproar over Jackson's Super Bowl performance, for fear of being fined".

[52] Virginia Heffernan of The New York Times praised the video as being "clever", "brave", and "sexually restless" with "adventures in exhibitionism [that] often seem to involve relatively small patches of skin, coupled with raunchy gyrations".

She compared the video's theme of "orgiastic dancing by candlelight" to the Northeast blackout of 2003, using the "civics lesson" of a dancer winding a copper wire from a stereo system around a car battery to generate power in an abandoned building.

[59] She also performed the song on The Tonight Show with Jay Leno on April 29, 2004,[60] MSN Music's studios in Seattle on May 14,[61] and the annual Wango Tango the day after.

[63] The singer then traveled to Europe for promotion, performing "All Nite (Don't Stop)" on popular shows such as the British Top of the Pops,[64] among other events, such as Italy's Festivalbar.

[65] In June, the single was performed at the BET Awards as part of a medley with "R&B Junkie", during which Elephant Man made an appearance for his verses from the "So So Def Remix" of the song.