Where Was Red Hot Chili Peppers Can'T Stop Music Video Filmed?

The way I tell this to my friends over coffee is pretty simple: 'Can't Stop' is a group-written track. The credits go to Anthony Kiedis, Flea (Michael Balzary), John Frusciante, and Chad Smith — basically the core lineup of the Red Hot Chili Peppers at that time. They wrote and recorded it during the sessions that produced the album 'By the Way', which came out in 2002. If you dig into the vibe of the recording sessions, you can hear how collaborative it felt: John’s choppy guitar parts, Flea’s bouncing bass, Chad’s tight drumming and Anthony’s stream-of-consciousness lyrics all knitting together. Rick Rubin produced the album, and the band hammered out songs in late 2001 and early 2002 before releasing 'By the Way' in July 2002, with 'Can't Stop' serving as the lead single. For me, the song captures that early-2000s RHCP energy — raw and catchy — and I still crank it when I need a pick-me-up.

Every time I fire up 'Can't Stop' I find myself grinning before the first slap of the guitar — that riff practically forces movement. Tempo-wise it's right around 116 BPM (beats per minute), sitting in a comfy mid-tempo pocket that lets the funk breathe without feeling rushed. The song is in 4/4, and the groove is driven by tight sixteenth-note accents and syncopation, so when you set a metronome to 116 you can hear how the bass and drums lock into those offbeat pops. If you're a player, practicing at 116 BPM is where the recorded energy lives. I often slow it to about 100–110 to work on precision, then bump it back up to 116 to catch the feel. Live versions sometimes drift a beat or two faster depending on the band's adrenaline, so don't be surprised if a performance clocks closer to 118–120. For practicing slap or funk guitar parts, count the sixteenth subdivisions — 1 e & a — and you'll start to feel those tiny pushes that make 'Can't Stop' so infectious.

There's this electric rush that hits me every time the opening riff of 'Can't Stop' kicks in — like someone lit a fuse inside my chest. The song reads to me as an anthem for unstoppable creative energy and weird, compulsive joy. Anthony Kiedis's lyrics tumble out in a stream-of-consciousness way, and lines like 'can't stop addicted to the shindig' feel less like literal addiction and more like being pulled toward making or doing something relentlessly. Musically, Flea's bass and John Frusciante's guitar lock into this playful, urgent groove that makes resisting impossible. I’ve got a silly memory of driving down a rainy street with the windows cracked, singing the chorus at the top of my lungs; it felt like charging a battery. That’s part of the song’s magic: it’s both a personal mantra and a communal shout. It celebrates momentum — the messy, electric urge to create, disrupt, dance or speak up — and it doesn’t moralize about it. If you take anything from it, try treating it like permission: when that energy bubbles up, follow it for a bit. Put 'Can't Stop' on, move around your apartment, sketch, write, or call an old friend — the song rewards small acts of motion.

There’s something infectious about how 'Can't Stop' grabs you from the first slap of bass and never lets go. I still get chills hearing Flea's rhythmic push—it's like a heartbeat that forces movement. On my morning runs that song turned my tired legs into a metronome; it’s rare for a track to be both playful and relentless in a way that feels genuinely joyous. The chorus—'Can't stop, addicted to the shindig'—is one of those lines that’s oddly specific yet universal, a chant that fits stadiums and kitchen singalongs alike. Beyond the hook, the band chemistry is uncanny: Anthony's half-spoken, half-sung delivery, John Frusciante's funky, melodic licks, and the tight production give the song immediate clarity. It arrived when the band had matured but still had that wild energy, and the music video sealed the deal visually. Add to that the song's longevity in live sets, commercials, and playlists, and you get a track that’s more than a hit—it’s a cultural emblem. For me, it’s less about proving greatness and more about the simple, stubborn way it refuses to leave your ears.

I still get a grin every time that opening riff hits — it’s such a tight groove. The studio version of 'Can't Stop' by Red Hot Chili Peppers is generally considered to be in E minor. The bass and guitar lines revolve around E as the tonal center, and a lot of the guitar soloing and riffing leans on E minor pentatonic shapes, which is why it feels so grounded and funky on the instrument. When I learned it, I played the main riff around the open E position on guitar and it felt very natural — Flea’s bass locks onto that E-root feeling, and Anthony’s vocal lines float above it. Keep in mind that live versions sometimes shift slightly (tuning, energy, or even a half-step down), but if you want to learn it from the record or jam along with the studio track, treating it as E minor is the most straightforward approach and gets you sounding right away.

Man, that riff from 'Can't Stop' has haunted my guitar practice for years — in the best way. When I dug into what they used on the record, I found a mix of vintage guitars, classic amps, and fairly straightforward pedals layered in the studio to get that bright, punchy, reedy tone. From what I’ve pieced together, John Frusciante tracked the main parts with a Fender Strat-style guitar — he was famously into his vintage '60s Stratocasters around the 'By the Way' era — and he blended a crunchy amp (think Marshall-style heads, JCM/Plexi family flavor) with cleaner Fender-style amp tones for clarity. His board usually had subtle overdrive, an MXR Phase 90 or similar phaser for texture sometimes, and a slapback/delay or plate reverb to give the rhythm parts air. Flea’s bass on 'Can't Stop' is all about attack: punchy slap tone, likely a Music Man StingRay or a Fender Jazz/Modulus-type bass DI’d and run through Ampeg-style cabinets for that big midrange thump. Chad’s drums are raw and tight — big snare, roomy overheads — and in the studio they’d use close mics plus room mics to get the crack and the ambience together. Rick Rubin produced 'By the Way', so the tracking philosophy was pretty straightforward: capture great performances and blend simple, classic gear. If you want to chase the tone, start with a Strat, add mid-forward overdrive, use a Marshall-ish amp for bite but layer some Fender clean for sparkle, and give the bass a tight DI with an Ampeg-like amp for warmth. That combo is where most of the magic lives for that song.

I get asked this a lot when I rant about bands and advertising over coffee with friends. Short take: yes, 'Can't Stop' can be licensed for commercials—but only if the people who own the rights want it to be. There are two separate permissions you need: one for the actual recording (the master) and one for the song itself (the composition). The master is usually controlled by the record label, and the composition is handled by the publisher or the songwriters themselves. If the Red Hot Chili Peppers or their label/publisher decide they don't want the song associated with a brand, they can simply refuse. That happens more often than people think; artists sometimes worry about their music being used in ways that clash with the song’s meaning or their image. On the flip side, if the rights holders are open to it, commercials can pay very well and artists sometimes approve it. If the original master is off-limits, advertisers sometimes commission a cover version and license the composition instead, but even that requires the publisher’s okay. My two cents as a fan: I’d prefer they say no to stuff that feels sell-out-y, but I'm practical—if the band benefits and the ad is tasteful, I can live with it. If you need the song cleared, start by contacting the publisher and the label, or hire a music clearance pro to handle the negotiation.

If you're trying to nail the main riff from 'Can't Stop', start by treating it like a rhythm part more than a lead lick. The core of it is a syncopated single-note groove played with a clean-ish tone and a bit of bite. First, get the rhythm locked: clap or tap the groove at a slow tempo (try 60–70 BPM) until the odd accents and rests feel natural. That groove is what makes the riff infectious. Next, break the riff into tiny chunks — two-bar motifs — and loop them. Play each chunk slowly and use a metronome, then speed up in 5% increments. Work on right-hand muting: rest the side of your palm lightly on the low strings to keep the notes tight and percussive. Add the little hammer-ons and slides after the basic notes are clean; they’re icing, not the cake. Tone-wise, go for a Fender-ish clean amp with a touch of drive on the edge of breakup, slightly scooped mids and bright treble. Once the clean notes and rhythm are solid, listen to a live version to catch phrasing differences and have fun making it your own.