In the 20 years it’s been around, Norbergfestival has maintained its focus on fresh, experimental electronic music and performance art. Limited to around 1000 capacity, this friendly, intimate event incorporates several stages and a campsite set around an abandoned iron mine in rural Sweden. It offers "a powerful experience for a small group of people," as Johan Östman, one of the festival organizers, puts it. But with a two-decade legacy behind them, it's clear Norberg has cultivated a close-knit audience that embraces challenging music while remaining devoted to a sense of fun and play.

Norberg is an idyllic town of fewer than 5000 people, about two hours north of Stockholm. The other main event on its calendar is an annual gathering of Elvis impersonators.

This year, a heatwave across Europe pushed temperatures as high as 31C, allowing festivalgoers the perfect opportunity to dip in a nearby lake.

Giant Swan's Harry Wright (left) and Tzusing before heading to the lake.

Norbergfestival Radio broadcasted on FM and online from a pneumatic bubble.

The Really Open Stage offered un-programmed, spontaneous and unnamed jams and performances.

AYA the day after her DJ set. Many artists stay for the duration of the festival, adding to the sociable atmosphere.

LOFT

No AAA, no VIP, just good vibes. Easter's Stine Omar (left) and Okay Kaya.

The 303 stage was the only outdoor stage, and featured mostly DJs, which meant plenty of dancing.

Mimer, an abandoned iron mine turned stunning venue, hosted the more experimental performances of the festival.

Hiro Kone's set balanced ambient nuance and modular synth fluidity.

Iron Sight, AKA Isak Hansen, was recently released from two months in prison after being arrested at a May Day Antifa demonstration. His noise set felt full of anger and emotion.

With fantastic sound and huge doors that allowed the crowd to spill out, the Kraftwerk stage was the festival's main arena.

Dis Fig played a live set following the release of her album, PURGE, earlier this year.

Giant Swan delivered their unique and kinetic live techno experience.

Tzusing's skilful DJ set blended breaks, techno and more.

Norberg used lasers to great effect.

Stockholm's Oli XL premiered his new live set following the release of his debut album, Rogue Intruder, Soul Enhancer.

The pink balloons covering the stage for Oli XL's set were later seen bobbing around 303 or across the audience during The Empire Line.

Seeing The Empire Line—Varg, Isak Hansen and Posh Isolation's Christian Stadsgaard—follow Oli XL in the programme underlined the strength and diversity of the Scandinavian scene at the moment.

Although she lives in Berlin, SPFDJ is another rising Swedish artist, known for her blistering techno DJ sets.

The Norwegian/German duo Easter's deadpan vocals and stripped-down electronic pop productions are witty and stylish.

Back at 303, Stockholm's HABIB1 incorporate Middle Eastern vocal and rhythmic elements to their electronic productions.

Princess Prada, another intriguing Swede who collaborated with HABIB1 for a reggaeton-influenced EP, offered both a performance as well as an installation at the Norberg library.

The Kenyan artist Slikback delivered a DJ set that offered a satisfyingly frenetic look into East African club sounds and the influence of genres like trap.

DJ Bus Replacement Service might be funny and absurd, but she's also a wickedly sharp DJ.

Festivalgoers found ways to make themselves comfortable in Mimer for Jacob Remin's presentation of Alvin Lucier's Music On A Long Thin Wire as an overnight sleep concert.

Norberg could not take place without the help of its volunteers, like Markus and Sara, below. This year, there were about 200 volunteers, helping to run every aspect of the event.

The Saturday night fog—be it natural or aided by an overworked fog machine at the Kraftwerk—and the early dawn.