Ida Engberg & Adam Beyer

It paid off. Her regular presence on Stockholm's small music scene helped her land residencies in Stockholm, then later, Paris and Marbella. A life-changing trip to Ibiza in 2005, in the company of her new-found party friends, sealed the deal. "We spent a whole season there, going out every day. I was playing in small bars and took every chance to play I got." Once again, her spontaneous approach to life had worked in her favour. Upon her return to Sweden she took on a residency at Cocktail Club, fitting her minimal sound alongside the likes of Carl Craig and Damian Lazarus. She released her first record, 'Disco Volante', in 2007. A decent Border Community facsimile, unbeknownst to her the label had been liberal with its licensing and it charted in Belgium and Holland. Suddenly she was transplanted to more commercial parties – and she hated it. "It wasn't really connecting with where I wanted to be," she says. "In Belgium I ended up in places where the big floor was hardstyle. It was just kids with glow sticks in the middle of the forest. I had to stop playing there – I didn't go back until Fuse!"

A gig at the Sunday School For Degenerates party at 2009's Miami WMC helped get things back on her terms. Billed as a showcase of cutting-edge stars and fresh talent, she was given a crappy indoor slot at the same time as the terrace opened. "I actually wanted to cancel," she remembers. "I was so tired as I'd been travelling and I thought there wouldn't be anyone in there anyway." She pulled herself together and - praise the Norse gods - it rained, leaving her a captive audience of industry insiders. "It was the gig that changed everything," she says. Indeed. One of the DJs in attendance was Beyer.

By then, Beyer had softened his sound and teased open the dense rhythms, inspired by three seasons in Ibiza with Richie Hawtin, and Engberg fitted the new direction. He invited her to play his Drumcode parties and they became close friends.

As Engberg's DJ profile rose, she returned to the studio, released spacious, lacquered 4/4 on Drumcode and Truesoul and the pair even went head-to-head for two releases, 'The Color Out Of Space' (2012) and 'You Know' (2013). So was she ever concerned that her own identity might be subsumed by her association with Beyer, his profile at the time being bigger? "At the beginning we spoke about whether it was good for me to release on his label or if I should do my own thing. But he really liked it, so why release it somewhere else?" she says.